Sep 17

Story Worlds

Are allegorical story worlds in that each are composed of characters, settings, and contexts representing concepts interacting according to their connotative relation playing out as allegorical narratives portrayed through seemingly simple action adventures.

They were created as personal mythologies centered around concepts and ideas that I like to think about, and were made as blueprints for various media pending the project, short stories, novels, comic books, graphic novels, animated series, video games, live action series or films

BELOW are two full story bibles, of two separate story worlds. there are nine story worlds total, each are a different world story. The first is a post-apocalyptic survival story, the second is a sandbox version of a fantasy mythology world I have been building on and off for years, but is is separate from the main narrative of that world. Elsewhere will be content for some other worlds, but not full bibles. these bibles are a little rough, but they are for self reference. They may seem like ya, and they could be, but in execution they will likely not be.

I’m posting here because I would like to have them made, and am looking for collaborators. These are not, in my opinion, the strongest of the worlds that I created.

Musica Versalis

Living Static Sigils

Carnival Kids

Slip world (one)

The Altonevers

The Chelis - used as the base story for the present iteration of the Generative Recursive Simulation Engine

IFALES

RUN RUN RADIO

ERIC M. ERBE

Ientoptic1@gmail.com

IFALES

Post apocalyptic satirical survival perception parable.

LOGLINE:

Morality is a luxury when pestilence leaves pockets of survivors devolving into instinctual animals living as both predator and prey, though for one starving runner the radio always plays, forming her perception of the ravaged reality around her and the blissful sounds emanating from where the civilized reside.

PITCH PARAGRAPH:

Gathering around the last bastion of civilization like savages around a fire, are the unwashed masses massacring each other to make it to the next moment. Where the inner song of radio waves fill the runner Vermel’s head every second, analogous of her conscious mind. The outer song is the sensory world, the beating of her breast, her breath breathing in incessant peril, and she herself persists somewhere between.

IFALES – Three act, followed strictly or loosely, allowing for linear, semi-serial; and or nonlinear nature style satirical survival parable of perception v. reality, pondering if the collapse of civilization lead to humanity back in the food chain, though were they are now predator and prey.

*Satirical, neoliberal capitalism effect on individual and 3rd world, as a survival parable following a runner through a post-apocalyptic dystopia surrounding a walled-off terraforming outpost standing as the last bastion of a fading media saturated civilization.

*Prime factors – radio stations, hyperbolized media mixing with the runner’s thoughts form ‘inner song’ and incessant war and tactile world of the ambient as ‘outer song’ and she as the ‘needle’ of the record. The runner is watched as the animal of a nature program surviving in the ‘wild’. All the while wishing to go over the wall to see where all the beautiful songs, game shows and broadcasts come from.

*Expand ‘universe’ by making one-off runs of the main character running, hiding and surviving as though a cheetah on the killing fields fleeing the raids, military sweeps, and incessant war always around her. Last as long until completing three acts or as a permanent nonlinear series.

*Bread and Circus satire in that what’s played on the radio and media is an exaggerated reality, so what she hears, and she alone among those outside the wall, every waking second are hyper-real utopic sensationalizations that form her perception of the reality over the wall. Existing as a paradise in her mind contradicting literally incessant war, famine, cannibalism, and capture by the ‘civilized’. Underfoot are rubble, corpses, and shells of all sorts of ammunition, but no food.

*‘Price’ of civilization, cost of civility. In that a faction or territory captures people of another territory to both eat and sell to those over the wall, who use them as fuel and slave labor, which allows small stability for the second faction in which a semblance of culture flourishes.

1. Vermilion section – hunted, the most desolate desperate killing fields.

2. Mint green section – semi-civilized rudimentary farming, or people and horrid crops, and semi-stable organized hierarchy.

3.Mea section – originally a military / terraforming outpost that became a city. The ‘oasis’ like ‘emerald city’ to the runner. Imperial corporation commercial center never seen or known but for their wall on horizon and radio shows.

*Source of conflict – parable setting constant need to run, hide, survive against any and all other people in a cannibalistic, warzone where humans are both predator and prey, juxtaposed with the hyperbolic way radio shows and tv depict reality which are always playing in the protagonist’s ear.

*Visual tonalism, bleak post-nuclear climate post last world war attempted terraformed world, Eastern Europe, Stalingrad.

ABOUT CONTEXTUALIZATION

The inner and outer song meeting through Vermel, who is the needle of the record player and so playing the song that is human life. To be seen as a seemingly nonlinear nature program following the runner as they run, hide, and survive through their days as in the food chain.

Mode - is proximity, to other people or danger.

Patrol - of MEA or hunters.

Perception - instincts, consciousness, and surroundings.

Progress – through the area, region, radio stations, and runs.

Nature pace – paced at times like a nature show.

Rush run – space, the zone/adrenaline.

Meet – other peoples, circumstances.

Interact with the setting and all that is not protagonist as part of the parable of human as part of food chain.

Inner song - is radio and thoughts though only radio is ever heard, rarely does she ever speak.

Outer song - is the tactile and the ambient world, danger in the bushes, cannibals, constant hunting of each other and warfare where there is no food but ammunition is under every step taken.

Needle of the record – is Vermel as the subject of story, and where inner and outer songs meet. The record meeting the needle plays the song of her life, as a means of depicting human experience as individual in circumstance that makes the song of existing.

Human relation to being a rubble running rabbit wishing to be over the wall to a place she romanticizes as though it were the emerald city of ‘wiz of oz’ of her dreams making caused by the incessant radio playing in her ear.

Audience engagement:

Empathic with runner Vermel as the human experience analog of being back in the food chain, a conscious being in the unknown wild, with the viewer wanting her to survive and eventually reach over the wall to the bliss she believes is there. For them to also see if she lives, escapes to find happiness and safety, with the suspense of a nature show, but of humans, and human nature.

While also satirical in that the radio and broadcasts are hyperbolic as TV is to reality, while many starve and die.

Factors of each run, always with an intrinsic humanistic relatable element of seeing a human back in the food chain.

*Mechanics of perceptual parable, where is viewed as nature, but the protagonist is humanized.

0. Inner Static, Outer static – consciousness, ambient.

1. Meet, context – other people as food chain animals.

2. Run, Hide, Survive – her each episode, radio shows, mood.

3. Interact with – ambient, and circumstance.

4. On radio – radio shows, music, juxtaposition.

5. Path – throughout the plains, as predator and prey.

6. Nature, watering hole – finding places to stay and survive.

EXAMPLES OF TACTILE CONSTANTS, OF THE OUTER SONG

The sound and rumbling of incoming warplanes, she runs over dusk rooftops.

Down into rubble and over a street or two.

Up again and into a building.

Artillery ebbing and falling.

Streets are flooding with soldiers fighting, as aspects of nature greater than herself.

Gunship chain gun rips through the building and artillery bursts behind and before her

She falls two floors straight down as bombs land from on high

Running still through broken basement walls until turning and exiting the building, running through battle thrown by running soldier who is killed. She crawls around a corner, plays dead, then stands and runs with huffing breaths.

Two block carpet bombed beside and behind her.

She runs, hears the footsteps and jumps into rubble a bit higher than their heads, lays perfectly still as enemy troops on the other side of the wall, and the warplanes and helicopters overhead. Hover for a few second. Two of the soldiers fire through the wall, another spikes a grenade right over her, she jumps and shoots one in the face after a second and runs, or waits on the ledge with episode ending.

CONCEPT:

Suspense of constant need to survive accentuated by the blending and juxtaposing of the conscious and subconscious mind, and body, thought and action, using the metaphor of radio, and atmosphere, or inner and outer static, song.

Surviving on the orange lands, the deadlands, is Vermel, a messenger who has run very well, nimble of foot as she races and rushes over rubble and steep walls as easily as mercury would. She has a rage for the rush of running, of breathing and being in a mental zone, the runner’s zone similar to her mother when flying like a jet fighter pilot.

Following Vermel in a third person and first person p.o.v. through suspenseful action born from her dire circumstance and will to survive as long as possible. There is a plot and progression, but the majority is the suspense of run, hide, survive, juxtaposed ‘inner static’ meeting the ‘outer static’ with vermel as the ‘needle’ which gives ‘sound’ to her story, her life.

Inner song = radio and Vermel’s own thoughts. conscious, subconscious, the mind. Also propaganda of all media in forming the public consciousness, suiting and serving powers and self-perpetuating the culture it is born from.

Vermel was given the radio by her mother, that he’s had since birth is symbiotic of her existence, of her reality, as she has a constant influx of information, of hyper-real media personae, be they entertainment or sincere, they are all artificially presented to entertain. In the same way a newscaster emphasizes this or omits that by which emotion they present the information with. All factors into the radio incessantly playing through her head. This along with her own thoughts is ‘inner song’ with her being the silent interpretation, the instinctively acting Vermel, who doesn’t speak until very late in the story arc.

Outer song = atmosphere of war, the tactile world. Body, world, five senses. The world is destroyed by famine created by pollution and climate change, apathy of man. The nuclear fallout of war, greed and wrath of man, and the terraforming, the arrogance of man. These factors of environment of constant warfare and separation of peoples as capitalism run amok creating and sustaining third worlds and becoming corporatism.

Needle (of record player) = She is the needle in a sense, where the inner song, of radio and her thought being the song, and the outer song, of the atmosphere of war and her running through it are the record, as her body what joins them both. And through the viewer watching her is akin the listener of the song of her story.

She exists in the orange quarter of the landscape to the far south-west, existing as a messenger toward the inside, and by eating the newly arriving at the verges of the city. The sounds of the chance circumstance of this existence around her, the whole ambiance and atmosphere, the struggle to survive the hunger to eat, everything tangible touchable physically real are the ‘outer static;’ including her breathe and heartbeat which can be used as the metaphor joining the inner and outer within her as she runs.

She is silent, in that she is usually as quiet as possible in her movements and never has anyone to speak to, though kills others as to not be killed. A practically feral A loner with no alignment but to survive another day. She is a messenger a runner among runners of the orange section, sometimes dealing with the hunters but very rare. She does not speak for most if not all of the story. She may think with a narrated voice, but other than that, nothing, she is to live with and juxtaposed with the radio, and the world around her, rarely showing emotional reaction. This is for character and for viewer to project both their own feelings onto Vermel, creating a sort of inflicted relatability, (with hand to mouth scene early) while also seeming cold, stoic, seemingly invulnerable behind her black glasses similar to those of an outrun character as she keeps surviving. The radio, music and shows are to be seen as Vermel’s hyperbolized stream of consciousness.

WORLD, SETTING

There are two main sections, the walled, or living city, and everything else is the deadlands, or the dead. All who live in the dead expanse no matter how alive they are, are ‘dead’. This is due to two major incidents of the recent past as prime factors:

THE FIRST FACTOR: alternate planet climate change as the biosphere of the planet was growing more turbulent and violent, with increasing natural disasters, earthquakes, twisters, tsunamis, greatly accelerating the loss of livestock, food crops and wild life. The drying of jungles and flooding of deserts with pestilent waters.

THE SECOND FACTOR: is a result of the food crop shortage, leading to a world war with the strongest remaining nations seeking to control what pockets of crops and resources are left. This war becomes a worldwide thermonuclear war and sunless nuclear winter devastating the already erratic climate. Leaving violent, often catastrophic bouts of worsening weather mixing with fallout rendering most of the world to forms of ash. Nuclear, chemical, or sands of brittle bones remaining after the flesh is stripped by the stronger, or smarter.

These two general groups, and more subsets among the dead, as the living remain constant and hermetically sealed.

THE MEA – the only ‘living’ comes to represent a sort of emerald city, a fairytale or mythical enchanted place, to Vermel who is enchanted by the radio always in her ear. This is further strengthened by also being the opposite projection of daily survival danger, adrenaline, fear, and paranoia she is perpetually living in as part of the food chain. Believing the verbose exaggerated culture of all media she hears nearly every second of her life, coming to form her view of reality in stark contrast to that of her own. Hearing them laugh, selling products in

their commercials, or telling of the building of a church or hospital, cured children and school days, traffic emergencies, all happening in her ear as she runs an hides, starved while scrounging to survive the scourge of life she was born into

All who inhabit the MEA outpost city structure as remnants of a science outpost from one of the last known nations to exist. A completely commercially indoctrinated society that is never actually seen but for the radio and media forming the inner static of Vermel’s radio. The MEA is located at the north-west of the greater land, sitting with its back to the large river, and a wall on the southern, a granite short mountain at its west.

THE DEADLANDS - any land outside the MEA outpost city structure but there are two major subsets among the dead lands defined by area of birth with the different of a foot meaning being bounty or hunter.

THE LIGHT GREEN: Also born of rubble and chaos, The light green section represent sponsored puppet governments that sell out their resources and thereby their people for power and profit which allows a modicum of stability. Though here the people are the resource, and also to be honest in context if these people did not capture and sell the other people it would also be them who are hunted. This also to establish the price of a society, the price of peace of mind, or a peaceful place to sit in the context of an eat or be eaten existence.

What is it that separates us from animals or merely instinctual beings. Is morality a luxury of those with full stomachs?

Hunters sponsored by ‘the MEA’ are lands under the light green banner, mostly of the north-east. These lands operate under a semi-stable infrastructure built entirely on hunting the bounty of lives of the orange banner lands, those who live only in rabbit holes and under rubble. Their existence is a moral one for those who are puppet governments for more powerful entities, be it ideological or physical. In this case a seemingly omniscient society that needs the labor and bodies of their fellow man for a seemingly perpetual war.

The semi-stable infrastructure is allowed by their turning on other people and hunting them, selling them to the MEA and so are allowed to sustain themselves, pass tradition down and learn to form a feeble culture and peace for some of its people. Their existence is to be a moral question, what is the price of a society? of morality? Of civility? As the people of the orange section are always hunted and hunting to eat, usually with little time for reflection living like animals.

This is north-east, and just beneath the south-east of the MEA outpost. This meeting is where the prison camps are. The area has significantly more building intact, though still ravaged by war they have some recently dug roadways, tent villages and houses at best resembling the slums of the early 1900’s. They have elderly people and some shops, the little bit of society they are allowed.

ORANGE QUARTER:

The orange section is wastelands of rubble and ruins with some structured partially standing, in all resembling a bombed out Dresden or Stalingrad though with no societal structure and are killing fields of starvation, decimations and are hunted and slaughtered by each other for survival and food, the green sector to eat and give over to the Mea, and slaughtered by the Mea to suppress and dominate the region.

The bounty, or the hunted hunters, where starvation is the norm and there are fields and fields open expanses resembling a bombed out Stalingrad or firebombed Dresden. There are tunnels, these are rabbit holes. There are pantries at the bottom of some, the most communal places here. Aside from them it is survival of the fittest, with a single slip up usually meaning death. There are bullets, and weapons everywhere. Troops could sweep through any minute or second, strafing helicopters every day spraying and spraying, jets always at war with one another overhead, the same every day for decades. Roving packs of hunters who seek to capture and sell those who live through all that. This is the desolate land with no water to drink, or time to think, only to react and live

as an instinctual animal, humankind back I the food chain as cannibals. Though a place where is one is not hungry, they do not kill.

Morality is truly a luxury here where kids band together, but by the time they are twenty there is always only one, who has likely eaten the others. To kill one’s best friend or closest relative to survive, and eat them is almost a rite of passage. This is the home to Vermel, where her mother landed nearly two decades earlier.

This is the south to west of the whole expanse of the landscape, lasting for miles with some areas simply rubble resembling deserts, others bombed out, to have a building with a roof is a rarity. There are few roads, and tanks rarely even make runs.

A DRAFT LIST OF SOME THINGS PRESENT.

The outer song, the ambient noise are the incessant sounds of war, struggle, survival, cannibalism, shelling, air strikes, helicopters etc.

The shells falling like rain

Ground burst and rumble

Jets flying, fighting

Helicopters sweeping, spraying the ground

Constant aerial strafing

Other ‘orange’ sector scavengers

Light ‘green’ sector hunters always hunting

The rhythms of each static, the ambient, the radio/thoughts meeting

Moment of fear

Heart pounding

Heart racing

Breathing

Tune out

Sweating

Tiredness

Hunger

Night

Day

Flash of war

Value of a full stomach

Footsteps running, breathing shouting running

The glitches and sounds of shifting radio signal

Brutalist architecture razed rubble

Jet streams of thought

Post apocalyptic, alternate planet

Just a life, alive

Gliding alive

Among the corpses

Tank tracks

Adrenaline of survival

Helicopter wind

The river styx, is the Danube here

Gameshow silence

Wiz of oz city that only Vermel perceives

Veins of stone soften

Because of terraforming attempt the weather shifts by biome by the day sometimes over only a few hours, often in transition from one to the next.

Rubble streets, partial structures

Swelling soils

Rain forest

Silt swamps

Grass lands

Green glass winds

Alpine today desert tomorrow

Gypsum salts

Yellowstone geysers

Tundra

Balkan rock lands

Hell city

What once was granite

Chemical bog

Holy industrial, due to MEA

Over the black metal fence

Horror or prison camps

A perpetual pestilence pollutes the air

RELATIVE THINGS

Peoples of the ravage plains

City states of fallen mankind

Chemical fallout bleaching land

Rampant Disease resulting from instant lack of antibiotics

Culture of the enslaved

Society allowed by safety, price of safety

Humans back in the food chain, against each other

The vanity of suffering

Morality as a luxury

Civility born of perpetually filled stomachs

Round ups of the weaker

Female voice over the loudspeakers speaking in orwellian code

A place to sleep

Sleeping hungry

Bruised, dirty nails, broken teeth, busted tongue, hand to mouth

Hoping not to be known as a woman (for safety in context of story)

All humans are animals, a well fed step out of the natural cycle

Slave prison camps

Snipers nest

Down the barrel

In books

Runner’s high

Sectarian violence

Sponsored atrocity which allows civility

Inner static

Outer static

She as needle

People as the batteries for stronger civilizations

Code breaking MEA movements

Traps in their lives

Plumes of smoke and funeral pyre

A bite to eat, any human or morsel no matter how spoiled

Perception born of information portrayed(media)

Flood of warfare

More bullets than bread

Silence is death

Lagoons and marshes

Pickoff peoples, peoples as urban wildlife

Satire of neo-liberal capitalism’s effect on 3rd world

Contrasts different people’s lives

The life allowed by the stronger

Eastern European Danube, Bulgaria, Romania, city as base setting blended with images, atmosphere and mood of Stalingrad during WWII.

Benefactors and degenerators of any circumstance

Out of control capitalism consumes itself

Feed the machine

P.o.v. is all, P.o.v. is vanity

Morality and civility are choices arising out of full stomachs

Escapism radio

The MEA is emerald city to Vermel

What is destiny. Is destiny real

Changing channels, (of radio, of thought)

The laugh track

Civilization is based on the least human traits

SCENES 1-12

DETAILING SKELETON OF STORY ARC acting as path for her to follow while always on the run.

0. The pregnant jet pilot, introducing the setting, the context, the ‘rush’ of flight that equates to Vermel’s running, Arielle’s down the barrel, and Melvin’s in books. The birth of Vermel.

1. The rubble, hand to mouth, she is injured with a busted hand and broken lip/teeth making it hard to eat as empathizer. Seeing the city through Vermel’s emerald eyes behind shades, listening to radio, waiting for the right time listening ears and minds. War all around, the sound of exaggerated reality. Disturbed by an air horn.

2. Sleeping in pile of rubble looking forward, fantasizing of dread and delusional bliss, of fresh bread and to be out of the rain. Begin run to pantry.

3. Pantry bombed out on the way, a sweep of war from MEA and ‘Green” troops, she creeps through the streets, becomes caught in sunken doorway intersection, shrapnel minutes long allies in machine gunners. Pinned down, hand to mouth trying to chew, reaching for a gun just out of reach. Flee under others cover, down alleyway two kids eat apple, two kids alleyway with AA gun unveiled. Over small wall, down street into building, to 3rd-floor hide side of wall.

4. Waiting the night, and morning out while war happens, outer static inner static mix with her breath as they look. Out of desperation for food and water, she runs again, hide survive. Drifting aimlessly after a while.

5. One the run from, then captured by hunters, thought a male, dragged to the prison as animal, seeing hearing the work camp nearby, she in captivity for a few days with ‘animals’ confront price of light green society persisting is selling people they capture into the prison camps, how much per head, their worth, to purchase from x for y, to show society cost.

6. Lead outside, ‘into the sun’ chain gang ambushed by sniper(s), the guards melee, struggle nearly dies, chains remain, runs gets stuff survives, barely escapes, lays low for a day or two more, Melvin subtle message leads to Melvin, Melvin leads to nest.

7. Meeting Arielle, the nest, first family. Relating to each other, all are human, resist hamartia to kill and eat them. New family, down the barrel, in books. Makeshift missions flock hunting, finding a book for Melvin, radio relating, the MEA city spoken best she can.

8. Different vantages, on the rooftops, as the war floods the fields, raging firefights flaring greater, MEA on yonder erupting as well, new vantages of the city, through slots and holes. Moving north.

9. Make for the wall as turmoil grows and the work camp rebels, big sweep through city, more chaos. Bombs falling everywhere. Through the hunters grounds, over rooftops. Above the flood of carnage and chemical water, the desperation. Melvin distracted by jets overhead falls into the flood. Loses glasses is killed by MEA downed pilot.

10. Rooftops ‘river styx’ overflowing, Arielle injured leg gets worse, infected, sniper cover self, left behind by Vermel, makes west toward wall, fairly close. Last light of her barrel is seen, last fire is heard by Vermel.

11. @ the wall across the river Styx maybe into the city, stuck, the wall is blown by falling bomber and jet, she climbs through flaming wreckage, see the world from in the wall, atop the wall between two worlds. Seeing the cityscape she dreamed of through the radio her entire life. Her emerald city. The city is in mimicry of a city of today as they try to recreate the time before the nuclear war.

12. Through the city, as it is in tumult people fleeing where ever in every direction, all scrambling toward specific sector of their city, she runs faster outrunning the authorities and boarding a shuttle. She notices she is pregnant presumably by Melvin but never stated and no love scene previously occured. She rises into the atmosphere, out of the outer static, into silence seeing the hundreds of jets fighting above the clouds. Her radio is off static glitching as she leaves range. She is the needle lifted off the track.

STORY IN ACTS

Does not follow strict acts if produced as survival variant, but this is for framework purposes as everything inevitably has a beginning middle and end.

ACT I.

Meet Vermel, hurt hungry, humanize. Hand to mouth.

Vermel lives, how she survives, room to run to.

Migrate south-east, away from known areas, the line.

ACT II.

Fleeing, around farther into enemy territory.

Captured by hunters, the hunters, imprison.

Freed when sniper aids, intro Arielle & Melvin, as run.

Meets friends Melvin, and Arielle, @ nest humanity unveiled.

Through dead lands w/ friends, proactive path, and rooftops.

Toward MEA, to the impending toward the storm.

ACT III.

Friends separate, the group, separates as war intensifies.

Melvin lost, wonders out on his own, alone.

Arielle left behind, she was rear on sniper.

Over the wall, a crash, and collision.

See the City, her view meets perception and reality meet.

Through city, new city, now city replica.

Into shuttle, she escapes, relief.

End seeing the whole world she thought was all things shrink and fade away as the music plays. Symbolically rising out of both statics as a needle is lifted off the record and no more music plays.

EVENTS LIST:

Radio transitions, three factors of every scene

1. The radio, subconscious, her mind, her thoughts. Inner

2. Constant warfare, physical, the ‘song’ to all. Outer

3. Vermel’s precise circumstance, the meeting of the two. Vernel as needle.

. *the pregnant pilot, is first episode arc and is meant to be the birth of Vermel, giving context to her life as being between two worlds.

. Hand to mouth, injured hand recently busted mouth = humanizing

. Land gunfight, stuck in sunk in doorway

. Alleyway two kids AA guns

. Jets fleeing injured under air assault

. Over alleyway, into third floor, hiding behind wall

. Waiting out the night

. She seeks a familiar rabbit hole

. Thinks of the size of the dead expanse

. World map, thinks of where to run

. Wandering weary away from her area, further form MEA walled city

. Winding up toward south-east, toward hunters

. Running rubble rooftops,

. Is sought specifically

. Flees

. Is captured

. Dragged to cell, hunters up close

. In cell, androgyne, scared

. Still in cell, some to prison others killed

. Radio dreamlike escape with no radio, morph of logic

. Chain gang to prison camp

. Freed by sniper ambush

. She gets her radio, supplies back

. Breadcrumbs left by Melvin

. Meeting Melvin

. Making way to nest, testing her nerve

. Meeting Arielle in nest

. Safe for the first time

. Fighting instinct to kill both, showing humanity

. A day in the life, vermel radio greener pastures of ‘AEM city’

. Arielle ‘down the barrel’

. Melvin in books, breadcrumbs, in jets the same

. A run of three, down barrel, spotter, and runner

. Runs for supplies, for books for Melvin pieces for Arielle

. As messenger giving insight to viewer of increased warfare

. Growing allure of MEA city shared by Vermel

. Freeing other captured peoples

. Moving inward closer to MEA city

. Moving toward MEA

. Moving through flood of death

. Closer still

. Separated from Melvin

. Melvin loses glasses under a heavy jet fight

. Wandering, he is killed blows self up to kill killers

. Closer to the wall

. Into swell of violence, fiery tearful

. Riots clash and spill around them

. On rooftops

. Arielle leg broken, left behind

. Vermel stay with Arielle,(as it is what matters)

. Cover Vermel close to the wall

. Arielle gone in past, behind

. Flood of warfare sweeps as she nears wall

. At wall and over

. In the MEA city

. Whole city is beginning mass evacuation

. Through the streets inward

. Reaching a times square like commercial region

. Fleeing authorities forever

. Makes it to a shuttle

. Into space out of static, the needle lifted

AESTHETIC

Since she is always running, and solemnly speaking while under constant pressure, each episode is her running hiding and surviving as though a human in a food chain of other humans. She is an outrun character while being nowhere near its other norms.

Visual:

Visual is an aspect of the outer static. Bare tonalist death scape resembling if the fighters of Stalingrad thought themselves in heavenly bliss, this is what they had nightmares of, a depicted hell that pestilent plague. Related to be exactly opposite the extravagances of the radio shows songs and other media always in Vermel’s ear.

Mostly long shots panning widthwise seeming like looking at Sahara in a nature documentary. And long shots down the length of rubbled streets or onward before her. Following her run, hide, survive, shot as though she is the subject of a nature documentary.

Almost whole episodes being Continuous shots following Vermel with as little cutting as possible. When cutting is often to open expanse shots. This is to give the feel of actually following Vermel as though she’s in her natural ‘habitat’ and less as telling a three act story. There are symbolic actions, and subtext of survival.

LENGTHS:

@ a feature film if three act strictly followed.

@ a limited series if three act followed

@ a continuous nature style show if three act not followed but instead depict Vermal as subject of a nature show.

@ present a 12 min per episode suspense, an episodic series with an arch for the story to follow and culminate, but allows for continual episodes of Vermel surviving through the days one way or another as though an animal being observed in the wild.

CHARACTERS.

*All characters aside from Vermel, Melvin, Arielle, and what she at times dreams of the game show hosts, etc, are to be treated as part of the setting, even when she interacts with them, they are an extension of circumstance. Specific to Mea troops always at war, the headhunters of the north-east, the hunted hunting each other in the south and west.

PREGNANT PILOT - this is Vermel’s mother, and is the focus of the first episode, she then gives birth to Vermel in the hellscape. To plot she is the divine wind, a pilot of a jet, of jets that still fight as frequently as the wind blows, leaving her as a juxtaposed MEA alone. Though leaving the earpiece radio, which forms Vermel’s perception of reality, and is the continuously present catalyst existing as naturally as the sound of war invasive to the bone, that her moving skeleton is also a player in as much as her mind is to the incessant static of radio station, a blip a boom, a glitch grenade shrapnel.

The pilot goes into a zone accentuated by her pregnancy, Vermel goes into a similar zone when running through rubble of half ravaged buildings, bombed out bunkers, etc.

The radio is from the bare remains of the pilot’s helmet, as are the large black glasses Vermel wears. Her cloak is the parachute sewn to bits of the pilot suit. So she is born of her mother and given by birth cloak to keep her safe, radio to hear and form her perception of reality, also mind, body and soul, and the six-shooter pistol she still uses, her claws.

VERMEL - the prime character, black hair, tall pale porcelain skin. and the only one on the screen for 90% of the series. She doesn’t speak aloud until meeting Melvin, which is only the last third of the series. The series follows her as she runs, hides and survives twelve minutes straight, with the outer static and the inner static meeting as her as the needle creating the song of this strong silent suffering though surviving with her life on the line every second of her life as a vermilion section messenger.

ARIELLE - of a pair met later in story. An Indian girl and a sharpshooter who sits in a well hidden snipers nest and shoots while her buddy and spotter Melvin runs out for the spoils. In the same way Vermel lives in ‘the run’ She lives ‘down the barrel’ has little to live for but to keep living, similar to Vermel as part of the food chain. A bit more delighted to simply be alive. She journeyed as a younger child from India to here, which correlates to the Danube on the border of Bulgaria and Romania.

MELVIN - of a pair met later in story. A youth of twelve or so, who is very crafty and survival wise, he has terrible vision, wearing battered glasses he reads many books, and often dreams of being a jet pilot. Jets rule the sky almost every day, in the same way lions rule the plains. He “lives in books” in his daydreams in the same way Arielle lives ‘down the barrel’ a youth from the outer a parts who was reading himself to death instead of action as a very young child. He was petrified of the battle around him and so stayed right where he fell from his mothers bag. Arielle found him when both were children, becoming dependent on each other to exist. Eventually making it to the nest they now live in. Short 12, 13 years oldish mushroom capped knee length cloaked little dreamer.

*ON RADIO or inner static - characters sentiments and psyche, subconscious thoughts of Vermel, 1 by whats presented, 2 by her thoughts of it when stated.

So in this way can be seen as extension of her character while aiding in telling, showing to the

*radio is always juxtaposed over the outer song, which are all sounds of war, including silence, of the world her body is in outer static (tactile), while the radio is the inner song (tacit) or the world her mind is in.

Radio is media and so the use of the media changes the perception of it and how it is used, ex. a newscaster will not have the same inflection or exaggerated mannerisms as when telling his neighbor.

Examination of the hyper-realism effect in media on the perception of a person, and the public of the world around them.

MONOTONE VOICE - a clinical female voice, meant to be pleasing, often announces the statistics and the ration count, time temperature.

RADIO HOST - a forceful verbose hyper reality hyperbolic wholesomeness, meant to be exciting and enticing, similar to newscaster, and game show hosts.

NEWS ANCHOR - is a pair of news anchors, male and female, they have fake conversations with a humor that is tacky, they report as news anchors today do, the utmost severity given to cat pictures, callously tilting their heads as dogs when telling of the prison camp numbers, which are productivity numbers to their listeners. To stay positive is their moot, but in context stay positive means keep the power structure that sustains the slaughter of Vermel’s ilk of people, and the sponsors of their radio show and the listeners are direct beneficiaries of.

WEATHER ANCHOR - the lands outside what was originally a scientific tower installation that grew outward and was meant to oversee the terraforming of nuclear winter bleached land. Now they share their weather with the Mea outpost having breathing buildings that all act as air cleansers and pollutant filters. They built a massive wall to keep out thousands who remain after a worldwide nuclear war, and attempting to terraform (what is eastern europe) to regrow the bleached land. Though they now leech what they can from the land and use the people arriving in droves as the real fuel for their installation society to survive.

OF DIFFERENT RADIO GAMES SHOWS:

GAME SHOW 1 - the price is right, this is the main game show, focus on, object, cost, and the showcase

GAME SHOW 2 - resembling an obstacle course with the commentators narrating the action. They talk of climbing a rope and climbing a wall, and the crowd cheers and boos.

GAME SHOW 3 - wheel of fortune, but wheel of chance roulette, and other gambling games, though with the people having to perform a task, or let a person they are with do the task.

GAME SHOW 4 - a quiz show similar to a are you smarter than a fifth grader, asking children and adult opposite questions

LAWRENCE WELK LIKE BAND SHOW, acts sort of like a disc jockey, announcing a saying the bands and their members, a charismatic soft of man’s voice, she also imagines him in a grandiose way.

MITCH MILLER LIKE SING ALONG, this is a sing-a-long to easy, simple songs, usually for children, that usually play over a louder static

PODCASTS - as a sort of captains log for random MEA pedestrians, or partial recordings of live shows with audible audiences to encapsulate more of the moment then a just a show.

**RADIO SHOWS:

COWBOYS INDIANS - this is a teleplay told on radio regarding the cowboy as virtuous, and bandits as killable bad guys, while in reality the Mea are opposite of virtues ascribed to law and order.

ALIEN INVADERS - another teleplay told on radio, about aliens from the moon, who have defeated the armies of the world as swoop in. Some are seen as good aliens, akin to angels.

SKY IS FALLING - this is about the plague weather that the terraforming partially cured returning, which is exciting because the weather swings by 10 degrees her and 40 degrees there’s, with trees her today and there two weeks later. Another through line of the show is walls falling and the prison laborers overtaking the city. To both scare and entertain then civilians to sustain their own culture.

DEBATE SHOWS - Personas meeting, often conversations of the political identities of the Mea culture, so all seem deified in a sense to her, but also vilified as those demons who keep the society of special cannibalism in place. She listens this shows how far those people debating are from the real world they live in and the atrocities committed so they may be warm and well fed.

AM RADIO - pundits and complainers, though profiting from their complaining leading astray as radio flocks fleeing true thought. Never ending war cries, reasons for unwarranted attack, justifications for whatever their civilians do as reprisal to the savages from toxic swamps etc. This is to cleanse the conscious of the public by giving them false reasons for the evils of the world, that their culture demands to survive, ex. The prison camps and the hunting of , the sponsoring the one section, allowing them some infrastructure, and vilifying the vermilion territories. All classic propaganda right from AM radio of today. All are well fed people who would be traveling preachers and snake oil salesman in days past.

NAME: VERMEL

OF: Ifales orange sector, deadlands

SEX: female, portrayed as androgynous

AGE: unknown, around 20

PRIME OR SECOND: prime, the only

HAMARTIA? Instinct to survive

ETHICS: animal instinct, radio media exaggeration reality

PASSION: reacting to circumstance

LOGICS: animal instinct, until meeting Melvin

DICTION: does not speak until meeting other two, though softspoken

PERSONA: kind, but kill or be killed every second of her life.

EMOTION: seemingly none

MOVES: a wild animal evolved to hunt and be hunted, a cheetah

OCCUPATION/WHY: a messenger, a runner. She’s good at it.

CRAFT/SKILL(if any): running, hearing radio, stamina.

HAIR: jet black, greased to the back of her neck, cut by rusty sharpened blade.

HEIGHT/SIZE: 6’0”

WEIGHT: 115, 125

EYE COLOR: black

COMPLEXION: pale porcelain white

ATTIRE: pitch black shades made from mothers pilot helmet, cloak made from her parachute with shards of metal sewn through it, boots of cobbled and sewn together scraps of leather and rubber with wings from pilot vest. Scavenged fingerless gloves. Hat that is a part of the pilot’s helmet and not always worn. Many pockets are sewn into the inside of her cloak, she also has a satchel which bears her goods. Has a partially rusted six-shooter pistol. Of course her earpiece radio.

DEFINING FEATURE: glasses gleam in even the dimmest of light

COLOR ASSOCIATED: black, deep burgundy blue purple

WEAPON(S)(if any): a pistol, her cunning, her speed, nimbleness and endurance.

LOCATED/MET: at end of first episode, she is born and timelapse grows.

SYMBOLISM: she represents the needle in context of in and outer song

REPRESENTS: the human as animal surviving in the wild of other humans as animals, with radio as the mind, tactile as the body and she as the interpreter, or intermediary existing between two worlds.

INTERNAL CONFLICT: whether the existence is worth the cost of what it is to be alive.

BACKGROUND: she was born of the downed pregnant fighter pilot, survived much like a lone wolf in the wild while her worldview is formed. She exists between two worlds, the one her body lives in with, danger tiredness and hunger, and the world within her head. Allowing contrast between the world a person lives in and the perception of the world based on forms of media forming the worldview of the people.

DESIRE: to survive, and she dares to dream of living on the other side of the walls, in the MEA outpost city that she imagines based of the contrast of the hellscape she survives in every second of her life, informed by the constant radio broadcasting.

CONFLICT: the constant need to run, hide and survive while struggling to eat. She is far from the walls which she doesn’t know how to climb. The hunters to the east wish to capture any of the orange lands, any of the orange lands wish to eat her to survive. She is in the food chain.

TACTICS: she uses the skill she has and the radio, and runs toward the walls with hopes of hoping over it, later with the help of Arielle and Melvin.

DEGNAS ISLAS

APOTHEOSIS

Eric M. Erbe

Ientoptic1@gmail.com

DEGNAS

Sword & Sorcery Alchemical Hero’s Journey

LOGLINE:

Journey of a strayed alchemical sorcerer, who in seeking his lost master, finds friends, purpose and strength enough to smite three warring jinn dominating, dividing and ravaging the isolated magical island continent of Degnas.

PITCH PARAGRAPH:

A wayward Veral has lost his master, and with the aid of some new found friends sets out on a journey to find him. Along the way conquering his self through alchemical rites, breaks the culture of division set by centuries of warfare, and transcends into the living image of his people's godhead.

DEGNAS – World-story, with action oriented three act through line allowing for serial or episodic media, such as a feature, animation series, mini-series, comics, graphic novels, pulp, toys, of a hero’s journey following a young alchemical sorcerer through a road of trials.

*Main themes – Alchemical sorcerer’s apprentice, sword and stone motif. Dwell knight master-servant motif. Golem master motherly matter marionette motif, each embodied by a main character.

*Sword and sorcery journey using alchemical symbolism and three supposed aspects of godhood to become the image/reflection of this cosmology’s unseen creator.

*This ‘universe’ can be expanded past three act through line best by exploring the continent, cultures, lore, back stories of the protagonist companions. Each have their own hero’s journey, as each epitomizes one of the three jinn arts, therefore the division of one into three. Making their relation to each other simultaneously the metamorphosis of the three as a group into Veral’s apotheosis, which could be said they are three into one.

*The three proposed arts as aspects that in context are the abilities of their unseen creator deity are 1. Magic Bio-alchemy. 2. Goleming. 3. Necrocy. Each has a corresponding Jinn and rules nearly every aspect of the continent’s cultures which are in continuous war to see which of the three Jinn, arts they embody, is the supreme trait of their a creator deity.

*These arts and the cultures are social constructs of the Jinn that rule their dominions, which are under their complete control with their subjects as practitioners of the art that is the foundation of their respective civilizations.

Each art imitates an act that the unseen ‘god’ in this context performs, which idealized human desires sought through actual history further fictionalized here, thus proving that beings create gods as the ideal being which the first beings strive to be.

.Magic bio-alchemy or alchemy in this context - is magically ‘enhanced’ biological evolution, magic chemistry, biome-terraforming, bio-molecular magic. Similar to genetic engineering ro perceived purity, so the Alchemical symbolism is Gold, a pure consciousness.

.Golea – is telekinetic control of mass, of matter sculpted out of any substance, usually variation of earths, minerals, plant matter nature formed into any shape. Similar to robotics, automata, and degrees of AI, in that they strive for more precise replication, so the alchemical symbol is Philosopher Stone, that which creates all, is the creator of the stone, by perceiving and molding into image.

*.Necrocy – is control of life force energies as a sort of frequency scale of life and death as a polarity ruling living and undead where existence is not necessarily corporeal. Similar to life energy, eternal youth, and longevity of today, so the alchemical symbol is life’s elixier, the dream of eternal life.

*Source of conflict – the incessant war of the three Jinn, Arts, and exploring the continent, and peoples they subjugate and contexts which emerge from their interaction.

*Visually, highly symbolic semiotic sorcerers synchronistic apprentice resembling updated fable fantasy style animations.

Mode of episode, chapter etc. is a Trial, a hero’s journey trial as describes by Joseph Campbell, and Jung.

_A Trial in context of this hero’s journey are events or challenges that specifically test the strengths and or weaknesses of one or all of the three and so establish growth of character and ability. The main through line is primarily of Veral’s hero’s journey as the central theme.

_Audience engagement: Viewer Engagement in growth of group into friends. Exploration of character and problem-solving of present circumstance figuring out what and how the trial is and what must be done. Variations of three arts and their applications as means to explore aspects of the ideal, what ideals are, and what is sacred and what is profane. Even though this doesn’t seem like it is to be a very subtle observation of humanities predilection with religious structures, that is what they hold sacred or profane and why.

EXAMPLES OF SOME INTERACTIONS.

ALCHEMICAL WITCHES - part of and denote trials of Veral, though lesser suggest his theme and can be met throughout.

TROLL AND SORCERESS - with her hut near cliff, she creates concurrent force fields trapping and separating the three, Rijil must fight a troll, Veral and Eltrea separated from him trying to break the seal, Rijil getting beaten, they rupture cliff, it breaks away putting all in danger, troll protects the sorceress who falls from the cliff with hut. Troll catches the sorceress as they fall.

TWO ALCHEMIST UNDER SEIGE - two strong alchemists under siege in a battlefield chapel-like building behind a wall, with trench like waves of earth, and golemers unloading magic as well as mass. The alchemist turn to using acids as a shield, with waves thrown over their wall to eat away at the ground and mass of living artillery. Crawl in trenches, holes in wall breached, rocks flood pummel over the wall a spiral spike through one alchemist then white phosphorous made of shattered stone whips out in solar flare through trenches, eating away at golemer legs.

HILLS ALIVE - the roots of a living landscape reach to consume them. These are remnants of a massive series of scars, as though the earth as a ghost. A place where there is a mix of all the three arts to differing degrees, pending flow of combat and control of territory.

KRAKEN - living landscape example of using nothink to sever the strings of the witches thread. Pollen volume of jungle thrashing mile long tentacles.

TAR SANDs - a tar pit that is being used to ‘marble’ golems like a watering hole to pilgrim golemers, this marbling gives them different properties than usual, enhancing Eltrea who is happy to see them. Dathir taints the pits and pools, and a massive polarity arc rips thousands of feet into the air, with a death magician siphoning the energy destroying the golems and spreading wild negative energies like an oil spill staining the earth. Eltrea learns.

CORRODED COPPER DEMIURGE - raising minions of liquid metal from foundries of deep earth and forges of molten metal. This is a being created by Grathir using some of Dathirs captured essence.

MEETING peoples as individuals or in groups, witches, sages, kings, queens, soldiers, minions, gypsies, dukes, warlocks, tribes, villages, kingdoms, bandits, legions, order disorder, landscapes, each aspects of three arts. Along with weather and battle climate. Circumstances of meeting, ex. Friend or foe, as skirmishes, migration, cavalry etc. Dragoon dwell knight, wyverns, life force polarity. Alchemists, Beast chimera living landscapes, bio-chem magic. Golemers, landscapes, myrmidons mass.

WHY THE STORY WITH RESONATE, it’s a story about what a deity is, and how theology affects populations, the value of trust, friendship and unity against the pressures of traditions culture and society which all people coming of age come to grips with as a natural part of their growth.

The Magnus opus of each of the three arts, which are based in actual alchemy, are analogs of concepts long eminent in the human zeitgeist, and each person alive would find reason to seek or enjoy any one of them. Especially reflecting in today’s highly technological world such as:

Goleming = automatons, are automation, robotics, with Grathir aspiring to create a cognizant, or artificially intelligent, self-operating golem. I relate him to the philosopher’s stone, which according to alchemy is the anthropos or perfected human. Also, that man was made of clay, malleable, and man also unsuccessfully tried to recreate cognition when creating the golem.

Necropsy = Transfer of energies allowing everlasting rejuvenation, with Dathir striving to live forever and to be young forever relating to anti-aging, and eternal youth of today, and all human culture. I relate him to the life elixir that was sought by alchemists so they may live forever.

Magic alchemy = magic as science adapting evolution to create change and form substances as needed. Essentially magic biochemistry relating to genetic modification, gene splicing, stem cells, and bio-synthetic chemistry, with Srathir aspiring to create the purest substances, to make himself in the image of his own creator (which Veral, an alchemist, becomes through unity with others, which Srathir lacks). This is related to gold, which to alchemist was a pure consciousness, and pure alchemical ritual.

TARGET AUDIENCE: Can be tailored to kids but generally directed at late teen, young adult, and adult, action violence and mature themes, with character and context as interacting metaphors composing an interplay of connotation corresponding the protagonists narrative purpose relative to each other and that of the art they represent.

SUBTEXT: Through the sharing of ideas and unity among different peoples, there is greater strength.

CONCEIT: That humans are the creators of the gods(virtues) which they worship as depictions of unattainable ideal images of themselves to aspire to be.

CONTEXT: A world to portray the concept of humanity’s deification of itself, and the effects of the divisions made by these deifications on civilization.

MOOD: Light hearted at first with increasingly serious with the eventual ascension of Veral to be the release of main tension. They will cheer for the defeat of Auexelain by Veral to save the peoples, though shown to be impossible. With the escape of the empowered Veral as the lone survivor, the audience will hang their tragic hopes on him.

VISUAL: if animation, or just the visual I’d like to convey.

Portrayed as an expansive open world akin to Conan the barbarian, with visual style of RALPH BAKSHI'S 1970's animated films: "fire and ice" and the animated "Hobbit" *with (or without) rotoscoping and cell shading, of that time, for realistic movements. Shot like an animated dramatic film, Similar to Transformers G1 animated movie, or Heavy Metal.

LENGTH: A serial or episodic pulp fiction, or novelization.

*A feature film if three act through line is strictly followed.

*20 EPISODES @ 12min ea. combined is a single 240 min animated film epic. Each half can be a feature-length film, or five 12 min episodes can be made into hour-long episodes to be a miniseries.

*A full series animation of 22 min runtime, keep the three act throughline, and explors lands, meeting different peoples, Rijil's and Eltrea's back stories, and the rites of their personal journeys. As well as depicting the events of the three Jinn parallel to the three main cast while on their journey.

IMPORTANT EVENT LIST

(semi order)

. Alchemical grotto terrace

. Verge rainforest, meet ALTREA.

. From caravan into forest fleeing tribes, swept into battle

. Large battle obtain urn and RIJIL

. Fleeing, all sides, acceptance, three together

. Srathir witch one, occult, minotaur marionette

. Srathir witch two, focus/un-thought, land kraken

. Srathir witch three, transcendence, silver sliver sleigh

. In dragons mouth, vs. death dragoons, slay one save one

. Saence synchronicity speaking to nature, Veral

. Fleeing armies of Dathir, and his dragoons.

. Depicting Rijil’s possible change of heart

. Grahtir has living, terrarium golem

. Dathir back story of lover with "battery"

. Raise and destruction of alchemical cliff citadel pylons

. Grathir 'ocean of mountains offensive' toward the end

. Eltrea against, "parting the ocean" of seismic force

. Eltrea, last blitz, dies under the tide.

. Veral finds Eltrea's sack and scrolls.

. Meeting and defeating undead master Fa'deia

. Master Fa'deia frees Rijil, so he may be against Veral

. Absorption of dwell knight Rijil by Veral

. Master Fa'deia slain by Veral

. The three Jinns in fight all along the cliffs, obliteration

. The six armed seraphim centaur Auexelain is awoken

. Srathir slays Dathir by stasis and draining

. Srathir is slain by Auexelain aided by surviving dwell knights (to also contrast Rijil loyalty to Veral) and golems.

. Grahtir, a massive worm/multi, destroyed by repeated earthquakes of Auexelain

. Auexelain pursues until the whole of the island is destroyed

. A complete three arts embodiment survives in Veral, becoming human as the image of the creator deity (in context of story depiction of a creator deity divided into the three arts.)

IN EPISODE 1

The normal world is one of ceaseless war between the three Jinn and the entirely divided Degnas island. At war until one dominates or destroys the other two. Veral is a wayward or bastard alchemist.

Established in the first episode.

Alchemic terrace under milky = showing there are magic alchemists

Master shadow and ran from = showing alchemic apprentice fleeing masters shadow, leaving his tutelage, and his past.

Golems over the hill = showing there are golemers and golems.

Dathir, and dragoons = showing the actual Jinn, and how all three sides face each other

Village destroyed = Veral losing culture and identity.

On the verge of jungle and desert = in the present, the edge of future and growth, to dead past.

Only knows little of the jungle, vs. other tribes = only flirts with growth and adventure.

Meager alchemical pools at roots of trees = connected to his past, he is still an alchemist, though not mighty but withered.

He watches the leaves move, the shifts of nature = his new master is the universe, alive in motion the 'wellspring' with no man as mentor.

*Veral's sorcerer’s apprentice magic motif = shows growth of strength over journey. At first magic flickers like illusion to real, then to a flame, as trials progress, becomes conflagration equal to character growth.

Veral's rusty sword = that he is a wayward sorcerer forced to take up blade as a wild man. The sword from an adversary tribe of the jungle locals. It doesn’t fit well.

Meets Eltrea = meets the supernatural aid, the enticement onward.

Eltrea’s golems = second art presented, aspect and ideology.

Caravan rejection = now on the edge of into the wild, and responsible for another’s life, as she is now in similar lot for trying to help him, he must help her.

Massive battle on the horizon heading their way, with tribes heard in the jungle background = adventure calling, impending danger spurs him to action, attempting to flee, still rejecting the journey.

HEROS JOURNEY ALCHEMICAL SYMBOLISM

Initial image of the stars, alchemy terrace, sun and masters shadow. Attacked by troops of the two other sides.

Begin @ alchemical terraced Grotto is home to Veral’s tribe.

The call to adventure is his wandering further into the woods and meeting the golem girl Eltrea, and seeing the war approaching on the horizon.

Refusal is his fleeing from fighting and feigning his magical ability, frighteningly he flitter through combat and into the battle.

Acceptance of the call is his accepted happens when a bit of his magic works to survive in the battle, and he accepts the responsibility of the ash urn and protecting his company.

Supernatural aid comes from the presence of the two other characters, this thrust him further into danger and setting him toward ever more dire circumstance.

First threshold is crossed when he begins engaging in the first battle, afterward reinforced and completed when choosing, with new powers to locate and free his master.

Belly of the whale is when he fights other alchemist to defend Eltrea, this making the three outlaws, or heretics to all three groups, by them being a cohesive unit.

Road of trials is primarily performed for VERAL, an alchemist derivative, as alchemical witches of Srathir.

Witch 1. The minotaur marionette, trust in self.

Witch 2. The land kraken, flawless action without thought.

Witch 3. Twin silver slivering sleigh, empathy, understanding.

Meeting with the goddess comes later when he strives to aid Eltrea who is in a major combat role. With waves of golems.

Woman as temptress, this is actually two-fold, one is the absorption of the golemer scrolls, from Eltrea, her anima. The second being his choosing to aid her and not succumb to his "undead masters, Srathirs call to glory" to rule as the just king he sees himself setting all free of the ceaseless war.

Atonement with the father, when he resists defeats and destroys the possessed undead master, thereby destroying the concept of the man as mentor, assuming fruition of self as master.

Apotheosis aspect in assuming the energies of Rijil after master Fa'deia frees him breaking the seal, though Rijil puts his energy in Veral when his body fails.

In possession of the scrolls, he now possesses the three arts, thereby becoming image of the creator deity. Completing apotheosis in context and unlocking the stone seraphim centaur Auexelain.

The three Jinn are in an extreme battle royal, which Veral is now included though trying to flee from. The now animate Auexelain, who is a destruction demigod meant to 'close the experiment' when it was concluded. As per creators design.

Auexelain sees Veral as one of the Jinn or creators reflection, and so tries to smite him as he flees.

His surviving the destruction and sinking of the Degnas island, to close the experiment. By surviving, also as the islands sole survivor, with the scrolls and the necrocers being inside, he has absorbed both anima, as an ambrosia, transcending all he is the image of the creator deity. He is the god head personified.

He is on the water floating alone, with the same milky way sky, same as from initial image of the first scene, his shadow stretched across the water looking like a near perfect reflection of the milky way.

*Like Prometheus brought fire he brings this knowledge and power to new shores, where he founds a new

kingdom that built on the basis of the three arts are one way of seeing, becoming an empire.

HOW 7 STEPS OF ALCHEMICAL PROCESS RELATE TO VERALS HERO JOURNEY

1. Calcination - to burn off excess, occurs @ start when he loses his master, village, and as a result his identity or ego.

2. Dissolution - dissolving of the ash, happens when living in the jungle alone further dissolving his identity.

3. Separation - rediscovery of essence, occurs when he's with Rijil and Eltrea, and he sets out to find his former master to learn.

4. Conjunction - joining together, begins when three become a group, and strengthening over time.

5. Fermentation - spiritually reanimates energizes, occurs as the group bond and become actual friends.

6. Distillation - sublimation to purification, occurs with the growth of each of their respective abilities, and use of those abilities for greater means than themselves, each sacrifing well being for the other.

7. Coagulation - second body or ultima materia of the soul, occurs as him being the three arts in one, he embodies the image of the creator, and so can fight against the Jinn and survive Auexelain.

*The philosopher’s stone relates to goleming as philosopher’s stone symbolized man perfected as anthropos, gold relates to alchemy as gold is said to be pure consciousness, and life elixir relates to necrocy as life elixir symbolized eternal existence. These are the three goals of actual alchemy.

SYNOPSIS - THREE ACTS

ACT I

Milky way, the alchemic grotto, loss of master, loss of identity setting him on the quest his seeking his master and past, while seeing the nature as his new mentor. THREE Jinn as warring parts of deity.

Veral in rainforest edge, on the verge of the desert, his former life, and lush forest, new life. Through actions of Veral, his doubt of self, seeking signs, seeking master.

Veral through the rainforest seeing synchronicity of world as new master. Meeting Eltrea, fleeing with Eltrea. Becoming responsible for someone other than self. Acquiring alchemic ash urn in battle, now three are together.

Through the war of the three groups and strict divisions, which cause the group to be rejected by all three by simply existing as a group. Spur Veral on further, to find his master, and slay the Jinn to free all the island at war. During this his illusion becomes potent, and she aids him, he aids her.

After narrowly surviving battle the three meet Rijil, state intentions more clearly through squabbling. Understanding back story of Rijil and stating parts of their own. Veral becomes resolute in finding his lost master Fa'deia. Which she agrees to with her own motives, and he must as he is his servant.

Being on the run from golemers and dragoons swooping, Veral becomes resolute and turns to fight. Not killing but thwarting a dragoon, making Rijil fight against the dragoon, Eltrea aids him. They are one unit against all. They are pursued by all who see them.

ACT II

Seeking Fa'deia, which he assumes is at the Alchemical cliff to the north, though maybe not. Rijil seemed to know the dragoon, who may have ceded intentionally. They are on the path.

Finding the gypsy caravan mixes with the excitement spurred on by ELTRAEA of just being in an adventure, and trust of each other’s loyalty and ability in combat. RIJIL leads them into danger, and she may run off. This asserts the trichotomy and makes plot of its durability, also showing 'humanity' over the Jinn divisions.

She is seeking caravan but also to gain strength enough to gain her own territory and raise her own army. RIJIL desires to have them killed and for a stronger master though must obey VERAL. As the three get to know each other combinations of their craft are also created, example alchemizing her sculptures so they may grow more powerful.

VERAL wishes to head to an alchemist enclave to become greater at his craft so they set out northward. The war is intensifying as both other armies are marching north, to eventually converge at the alchemic cliffs.

While moving through acidic swamps, they escape into a barn and sleep until morning light, then battle of the first minotaur who is at war with a field of golems. This is significant as VERAL trusts his own instincts and not the phantasmagoric illusions of the minotaur, in order to defeat him. Though this allows the golems to take some north territory.

During this fight, ELTRAEA learns of other golems and begins trying to replicate them. By falling into a cavern trench system and stealing sets of scrolls during the fight. She tries to decipher these, mimicking, the way VERAL tries to decipher reality through 'reading' nature.

Leading them also to find a hermit golemer, he betrays them and tries to take the scrolls for itself, denoting their possible potency.

After this the town they’re near is destroyed, they head onward. Eventually coming into a purplish, vibrant green dense spored fogged jungle. This is the land Kraken. They battle the terrain, venoms serums spores, and the Kraken itself. Victorious only when Veral through nothink throws his short blade through witches strings. The Kraken is petrified. This is a boon of alchemic thought for him, gaining a better understanding of the doings of Srathir. He now bears evidence of that conquest, as well as from the minotaur.

After this, they’re attacked by the dragon and Veral goes into the mouth of a dragoons wyvern, which Rijil must aid and repair his wounds with light energy that takes a lot of energy from Rijil to perform. Showing good gesture from Rijil. (Midpoint)

Again in the plains in fear of dragoons, and injured, though no golems to be seen. Wandering about, a sort of down time for a moment, then coming to a ridge and a battle between the dwell knights, actually welcomed by alchemists who are at war, and the three join the fight on the alchemist side. When it is seen she is a Golemer they assault her. The three now surrounded on all sides. The commander the silver sliver sleigh witch questions Veral of the trophies from the others. He is attacked when explaining. Defends ELTRAEA, alienating his own kind, or where he wants to belong in solidarity with her, Rijil loves it, and slays everyone he sees. Relates to the empathy of the silver sliver sleigh witch, by learning the rhythm of movement as a metaphor Veral tells move and winds. Three trophies gained. Three traits of Veral character shown.

With Veral rejuvenated by learned alchemy, and greater ability, ELTRAEA empowered by greater understanding of the scrolls, and Rijil coming to respect his master, no longer as wanting of his death, they are almost as one. They head north as the world becomes more dangerous, the armies of all three are marching and merging to a condensed, intense savage war.

Now wading into the armies sneaking and fighting through all sides. Some alchemists they aid come to assist them join him, aiding him, and telling him that master FA'DEIA was a hero, but has been possessed by DATHIR.

They venture into a severe strip of combat where the dwell knights are holding a large swath of land. Consuming the energies all around them to sustain. The alchemist they are with become possessed and destroyed by the undead. Fighting through the arches and two more dragoons fought. One wiped out by others in peripheral.

ACT III

After freeing themselves from the dwell knights stronghold, and necrotic arch. They get into an area that is absolute chaos of all-out war of all three sides, the three a stronger unit than ever. During battle Eltrea has realizations of what the scrolls say, faring very well, keeping afloat by goleming from the rubble of other golems. Rijil is slaying many more, enraged at having to slay so many dwell knights earlier. They are a solidly cohesive single acting unit that live and die by each other.

Grathir implements his ocean of moving mountains, trying with some success to overwhelm the other armies. The three ride the perilous tide fighting their way through. She comes to amass a large amount of golems, and mass, a lot of it from the golem ocean, and much from the cliff side citadel, which she strips so they can survive and rise out of the warring rubble. Saving the other two.

When reaching top of cliff, now close to the three jinns fighting each other. She is drained nearly dead saved by Rijil told by Veral, though he would've at this point.

The three Jinn fighting passes near them, shattering part of a cliff, and knocking pillars over that crush Eltrea, Veral is enraged, by the three demigods go on fighting. As he clutches the satchel and scrolls, in memories of, his master Fa'deia appears, he is fighting against golems.

His master is now undead, alien of former self, Veral realizes false master, and he was essentially his own mentor. Veral and Rijil fight the undead master, who is undead and alchemist, master Fa'deia breaks the seal of the urn.

Freeing Rijil, who at first fights against Veral, though wavers and chooses to fight beside him, defying his knightly duty for friendship/humanity. Veral is struck down being magically attacked, Rijil’s body fails withers away to Fa'deia magics, his light that remains leaves his body and goes into Veral’s body, who absorbs him. Absorbing both anima, and animus, he now has the three arts within one person, as the both the 1st and the 4th, an image of the creator god in context, and defeats his former master using shapes of spells similar to those used by him of opening scene.

The three Jinns are still fighting, Dathir is caught in a trap by Srathir, a form of stasis, which Dathir is then drained and killed, by Srathir. Srathir is attacked behind them as Grathir assaults Srathir, the stone Seraphim begins to awaken. Srathir thinks he will be granted ultimate power. The dragoons present along with the Grathir and golems defeat the raging Srathir who believes he is the recreation of the creator god.

Veral looks for Eltrea but she can't be found, he takes the sword of Srathir, that slew Dathir, and the sword of Rijil? Combining them, showing great levels of power.

Grathir as a massive worm like thing along with a half mile of the alchemist cliff is decimated by the awoken Auxelain. It is evident Auexelain is slaying everyone, exterminating everything in its path indiscriminately. Striking at Verals heart strings as he attempts to fight he awoken beast, swathes of undead are wiped from any form of living. Hordes of golems made rubble by blasts as frequent as the wind, and the golemers gripping them evaporated and blasted by the rubble of their own creations.

Veral attempts to fight the awoken beasts, he does slightly okay. Fighting as hard as he can, he lands a blow that leads to blood from the beats face and upper shoulder. Drawing the ire of the centaur who then chases him with the entirety of the island quaking beneath his feet and rabidly smiting all living things in his path.

Veral is chased all the way to the coast and of a cliff, surviving the onslaught, swimming in the ocean. He watches the whole of the island sink into the ocean, the six winged centaur trying to swim, Veral damages its wing, and it turns to stone the second the island falls just beneath the surface. Veral floats in the ocean alone the lone survivor with the sun throwing his shadow toward the view, splitting the water, miming the initial scene.

ABOUT THE THREE JINN, corresponding three arts. What the main three characters are representations of and the ceaseless warfare among the civilizations and their progeny.

(This is the context of the story setting.)

There long ago was a species that grew from the dirt; they were magically and scientifically imbued since their creation. They grew mighty, had wars, peace and more wars, until one side was victorious. One of those people was wise, wondered, wandered until taking his seat, and created more things, then others. Through this mastery he lifts his side and his species to godhood. One day when pondering three of his favorite things to ponder, things which he himself believes are the three arts of his mastery which make him a god above all other gods, he had sneezed a snot, wincing, he dropped a tear and coughing a drip of spittle came. These three fall before him, with each becoming a demigod in the form of a sort of living plasma.

He sent these to Degnas island, a remote island with a sizable population, to see which of the three would rule the other two. As one large experiment to see which of the three arts are supreme, and at how they affect the peoples and cultures of the civilization. For thousands of years the societies of the island have been entirely engulfed, enriched and divided between the three forms, everywhere practicing one or the other, largely based on where the people are born.

HOW THEY RELATE TO ALCHEMY

The three phases of matter / Three interests of the Jinn creator god.

Grathir, Goleming, Solid / manipulate matter /simple.

*Philosophers stone, as the philosopher’s stone is ‘the human body, or vessel, perfected as the Anthropos, or hermaphrodite, or Rebis’ by alchemical myth, his ultimate goal of creating is recreating his self, a golem with cognition.

Dathir, Necrocer, Liquid / energy transfer / transitory.

*Elixir of everlasting life, he is energy transfer and so able to manipulate flow of energies, allowing for himself, and his followers to ‘live forever’

Srathir, Bio-alchemy, vapor / transmuting substance / complex.

*Gold, as gold represents to the alchemist a perfected, pure consciousness, as Srathir and his craft strive for the least impure ingredients, most exact proportions, perfection and perfect consciousness with the craft ritual being the physical representation as an analog of their inner consciousness.

Auexelain / creator’s anti-symbol, plasma (unattainable by mercury, also by mankind) ionization. End of line for unseen creator’s experiment.

The alkahest, the universal solvent that dissolves the three jinn, and the island, wiping all from existence but Veral, who attained through journey the mirror image of the creator.

The victor must either learn the entirety of the other two arts,(a rule they do not know of) or destroy the others who are trying also to destroy them, a trait and obsession placed into each by their creators wonder of it as they were born.

INTERACTIONS OF THE THREE WARRING JINN:

DATHIR fell in love with the most beautiful woman he has ever seen, granting her almost immortal life. Srathir set up false fronts to sneak deep into Dathir’s with the unwitting aid of Grathir, who was deceived into leading a near all-out offensive. Srathir kidnapped the love of death’s life and evaded the angry Dathir, escaping into his territory, and using the girl as leverage that for her to not be slain or turned into an atrocity by his alchemy. Dathir wages constant war on Grathir, allowing the master alchemist time to his experiments. But he does entomb her in the heart of a forest fortress with her life force as the “battery” that keeps it living. Dathir knows this, and that there is likely no saving her as her energy drains down, and strikes out against Srathir frequently.

GRATHIR frequently tramples, destroys and absconds with aspects of Srathir’s alchemy enhanced living landscapes and wildlife experiments. In the past this has led to Srathir’s ruin, another reason he lays defensively in wait, while Dathir stays off the ground. Any would be overwhelmed by the moved mountains of Grathir, so their location must always be a mystery to him. His golems have marched into and ruined many of Srathir’s alchemical landscapes. Breeding more resent for him from Srathir who like Grathir fears the very sight of Dathir. This is because in Dathir they see the cycle of life and death and inevitable equilibrium, that they are irrefutably finite. And he can slay them.

SRATHIR basks in bastions of his bio land, of alchemical experiments, which he see’s each as a portion of greater formulations. Each regardless of their specific details are known as alchemical gardens of Srathir. Each is adapted ecosystems and biomes to produce an effect, experimenting with evolution and interaction of wildlife as the “current” his form of magic biological alchemy. Such as changes for specific, moss to be another color or make specific compounds, so the world to him is a living experiment, which he is just mixing, and on genetic, bacteria to mineral level. “A world of living ingredients, organic matter need only be meddled with to meet my needs.” “Everything is an aspect of another…in alchemy.” And actually cares very little of the other two, thinking of how much time it would take to actually defeat them, he procrastinates into his experiments. Which are magical Biochemical engineering, for specific compounds, elements and subs as organic matter, ex using perennial plant life, or the growth of trees as the for bacteria that alter the tree itself to grow.

*They meet face to face toward the end and argue and fight amongst themselves, each stating how they wish for the petrified Auexelain, when they unlock it. None do. As for one to destroy one must know it, for one to know the essence of the other, it will become then two, and learn the essence of the other there will be one. Though they are three of a whole, they can never be one again, Only when only one remains will they be one, and the greatest of the three arts will be known to the creator deity they were born from.

*Later it is Veral who unlocks, and softens the six armed Seraphim centaur to sentience. Who remains grey as a Russian blue cat? After the absorption of the other two Veral embodies the three becoming one.

ABOUT EACH AND TYPES OF LAND, PEOPLE UNDER THEM.

SRATHIR: fun with magic chemistry + fabled DNA, gene splicing, nanophysics fractal bacteria, hybrid fabled bioengineer assisted experimental evolution as bio-alchemy.

Primarily uses chimerical ‘Witches’ as his generals, not that they have sway over any other, only that they serve him, very few alchemists of his land can slay them. Greater chimeras are more powerful enchanted beings created by Srathir, and imbued with greater abilities than any others. The lesser chimeras are the human mimicry of his absolute mastery.

GREATER CHIMERAS examples

(These three are part of the ‘road of trials’ for Veral)

Witch 1. Occult, Minotaur & witch woman, with puppeteer and strings magic caster torso head and shoulders on Minotaur’s shoulders. A juggernaut created in mockery of Grathir’s megaton myrmidons that trample his lands. It runs straight into them breaking them to bits. It is a powerful witch doctor, creator of illusions as well as wielding a ten ton mace like as a feather. He is defeated by forms of divination and wellspring of Veral and Eltrea, showing trust in the nature of the universe and their own perception of it. That psychological symbolic action plays out as their psyches being the labyrinth. Through both a massive war zone and psyche labyrinth they find their way by TRUSTING OWN INTUITIONS / PERCEPTIONS.

Witch 2. Focus, land Kraken, a massive primarily underground Kraken, the heart at the center of a jungle and most of its eight half mile long tentacles rest underground and wild life covered paths passing under and over streams. Housing whole bacterial species on them, its the foundation of the jungle which is ‘sleeps’ a genetically diverse plethora of venoms and serums from every sap and vines skin, of such immensity it is thought to be just myth, tale told to alchemist children so they have and apex chimera and living landscape to aspire to creating. There is an altar seemingly made of stone, though is layers of bacterial growth. At this alter there is a small hunched over witch with her eyes always closed, her one skeletal hand stretched out holding a cross with strings, a puppeteer, around gestations of a living jungle. This is the krakens head, its beach ball ink filled eyes are at ground level, rising with the large tentacles with trees and wildlife grown from them. Thrashing and throwing swathes of forest with any movement, it is impossible to destroy, the only way to stop it is focus without thinking and sever the witches strings from far and away, and magic does nothing to the altar. This requires A FLAWLESS ACTION OF NOTHINK.

Veral must throw while running on, and stay on, one of the massive tentacles, much of which is breeding ground of various venoms and serums, thorns, trees, and the thrashing and movements. And spores fill the air, thickening it to a pink yellow sun-drenched hollow fog. Of noxious poison that needs to be negated. Overall shape a circular circumference of battle

Each limb: 1. @3, Under through a pond and a series of short bridges over it. 2. @11:30, a bridge closer to center, under and down a hill, 3. @7 long and near straight, most of top is part of a jungle path, 4. @9, meandering like a stream, above is a shallow stream. 3 and 4 interceded by a long semicircular bridge. 5. @12, (north which is behind alter) long and wrapping around left to almost meet 2. 6. @1:30 alone up there, slopping opposite 5. 7. @5:45 coiled and slivers massive snake, of stone in and out of the ground. The obvious limb myths are based on. Also next to 8. And 8 @6 and bending westward with many trees grown from it, ending with end of tentacle out as an entryway into the “park” of the jungle. Its beauty a lore not unlike a gingerbread house venus flytrap. Eaten by alchemical bile. An exciting jungle

Witch 3. Transcendence, twin silver sliver sleigh, acting as a commander of many other chimeras and lower alchemist which gather around to fight and survive. Two large silverish skin snakes with a carriage having a warlord looking witch that hurls devastating dark magics of all kinds. This is Srathir throwing a bit of Dathir back at him. So to fight against this witch one must get through a battlefield,

Defeated by watching, AS A METAPHOR OF EMPATHY, UNDERSTANDING OF THE OTHER, FEELING AND MOVING REACTING IN A RHYTHM THAT ALLOWS HER WEAKNESS. To stare into the wickedness of the witch, the horrible depthless pain Srathir captured and encapsulated from Dathir, the knower of death. When this happens Veral can hear the song of the flute the witch plays to control the snakes, though they are actually the same entity. This is done when fighting through and so simultaneously separating from those of same group Veral culturally identifies with. This is both separation from cultural identity, and merging with another, AND SO TRANSCENDING SELF AND OTHER.

LESSER CHIMERA examples.

Any of many species adapted and enhanced in similar ways of gene splicing, trait sharing, by Srathir and those loyal to his craft.

Alchestral crab. A fractal bacterial micro kingdom living on and of sand castle like pores and moss citadels splendor back.

Many bulls, mares and are in mimicry of the bull body of the stone seraphim, which Srathir is obsessed with softening.

Phoenix, whose, feathers bend light making it appear as gravity well. It flaps ungravity, other that bend light, and split the spectrum as prisms.

ENLIVENED LANDSCAPES examples.

Alchemical grottos, like those of rice terrace.

Geyser fields, earths bile and boiling soil.

The Kraken forest.

The great vale, a living hyper-carnivorous.

Acidified swamps, with breathing trees.

Allowing specialty chimeras with the soul of one put into another, as single-purpose forests, that collectively form a mineral or compound needed. Obvious bacteria is present as on all walls surfaces seem moving, as though all under microscope and atomic level is clear.

DATHIR: life and death cycle knights, other.

Has twelve undead dragoons as his personal council and commanders of all the dwell lands. To keep the order, and so keeping to the cycle of survival of the fittest, and so the cycle of life and death illustrated. These are the strongest undead warlord kings from throughout his realm. Bred in death and decay, plague and pestilence of their energy siphoning akin to the darkest of arts. Dathir lets very few of his disciples the knowledge of the healing the other bright side of energy transfer, so it is a necrotic kingdom, of mostly undead, though all living between side, a world of energy in mass, of soul and vessel.

All of these are lords of death to varying degree of the magnetic life force flow.

Undead dragoons riding various wickedly winged wyverns leading legions with the undead rorschtag sack headed disciples as his stock soldier. (To put a sack on a living beings head drives them insane, which they kill themselves tearing at their neck until the bleed out of it. Becoming undead and joining their ranks.)

1. Ahldir - life force lance, deaths right hand, black white belly wyvern, wears silver black jousting armor. He almost is always with Dathir, and hurls meteoric spears that siphon life force out and into visible twisters of free energy.

2. Beirazoar- shield and scimitar, lord lion of the lich king, red and yellow, wears desert warrior armor. A front line warlord, he leaps in and off his wyvern usually staying closer to the ground and moving disturbingly quickly without losing and destructive power.

3. Ordana- sickle, reaper of swathes of souls, black as a lightless wyvern, wears white and gray robe armor. Sweeps hundreds from live at a stroke, moving fluently through battlefields as black smoke, with mastery of life force manipulation.

4. Eiral- a short rod and short sword, tarnal light knight, bejeweled blue violet wyvern, wears gray purple white enchanted light armor.(Jewels stolen from Srathir, that he stole from skin of Grathir dragon form.) he is an extremely potent dark arts sorcerer, skilled also with sword arts, he dominates battles with superior magic of nearly every kind, Taoist persona. Formerly a pupil of Iblaes, and Berazoer, though at different times, he may now surpass either.

5. Avacea- longsword and shield, deaths deputy knight, his wyvern is of plagued bones and spoiled flesh. Just as he is horrid rusted blue-black rotten fleshed being, that is a virulent plaque to anything it touches. Dragon fighting nightly figure, his wyvern shares in the magic keeping him living.

6. Raelda- two-handed ax, life’s high executioner, white belly, that becomes green, blue, red scales that become black on top. Wears sack overhead and a cloak, no armor as he has demonically enchanted skin, reflective of magic, and absorbing of force. Lore tells that stabbing through the back of his throat when his mouth is open is the only way kill him, though he never speaks, and so earns the knowledge of duality from Dathir (his tongue may be already cut out”. his axe has two sides, just as life and death, to and from, bloom and wither. He wields a small amount of the duality.

7. Aezel- long lightning lance, the living lightning, wyvern of various blues to neon violets and gray. Is an aware electrical current manifested in armor of assembled metals by unholy enchantment. Its caster soul is the incorporeal electricity. A fast-flying lighter version of Aldir in combat, though wishes to consume the life force of the rest and fill the sky with his energies. Dathir knows this and encourages it knowing it is futile as long as he lives.

8. Alefora- longbow of blight, lights imperial devouress, a swiftly flying red pink dragon, imperial huntress light cloth armor. Long white ghostly veil looking hair, though a mask covering half her face of a small bull demons skull. Her arrows leave beam light trails of smoke that consume energy as tunnel vacuums which she often magically wields as arching columns of necrotic energy,( like those spread through the land as though a natural phenomenon). Her pitch black eyes also visibly drink in light observable by the naked eye.

9. Ravedais- a mirror of undying eyes, Pandora’s lost lover, dragon unseen but reflective. A small reflective cube filled with the soul of an ancient wizard that possesses those near to survive and channel. Dathir has granted him a necrotic temple city all his own, along with rudimentary Goleming techniques to further his reach. It sits inside the tomb of a greater warrior wizard than its caster. It is actually wanting to eventually posses everything.

10. Iblaes- a gavel, decider of truth, wears the regency robes of two centuries earlier, wrought with rot and plague; he is devastating to the enemy as scholarly sort grand master of Dathir’s dark art, having taught himself aspects of the other side.

11. Uenader- ‘the bright’ blade of pestilence, sewer of sweet decay, and his wyvern is shimmering silver; the flesh was stripped from and stolen from the same king of his armor, and used to empower his wyvern. He is a semi-shadow spectral warlock knight dressed in pure white armor as incorporeal black shadow body. slays and counts souls, uses them as ‘spices’ to his spells, and pours them into his enlivened armor, what keeps it so pristine. The armor was originally stripped from one of Srathir’s greatest kings during a battle that left him alive, but irreversibly insane. Uses allot of siphon magic, storing and moving, transferring energies while using his sword. He is a close and frequent ally of Eiral. He plays the lyre. He is liked by Dathir, even though his careless nature many of his undead roam as Ronan, which he sees as spreading chaos. Has a sense of humor.

12. Oeldar- mace of rage and wrath, hatreds most holy, always burning alive, skin seemingly of magma and two thousand degree metal armor. He never stops highly intensive energy, from the agonizing flesh burning; he was of a giant clan that was hexed by Dathir. When his is in battle, moving slaying is the only time when he is not enraged due to his eternal agony, but is emblazoned to battle harder and slay thousands a day.

13. Ilith- short spear, most vile Valkyrie queen, wears armor of petrified battle scared bone and scale of her wyvern progeny, stronger than almost any metal. A breeder of man and wyvern has hordes of demon spawn, wyverns and packs of hell-born progeny that comprise the back bone of her legions. These rabid hoards are akin to the chimerical creations of Srathir and the alchemist. Though dark and horrible sometimes they are mighty and born of light. These are rare, though often become the heroes to the undead kingdom. Rijil may be in the lineage of one of this light born.

GRATHIR: conceiving is fun with classical physics with magic enhancements.

When he or a skilled golemer is present, a single mass may take on many forms.

Class and type of myrmidon.

Myrmidon = golem - Animated mass in any shape that behaves under the control of the conjurer of ‘Grip’ or creator of golem. As autonomous, semi-autonomous, or strictly servant. They do not have souls attached to them; they do not have thoughts of their own. Though Grathir tries for this by using the nervous system from plants, etc. But still no persona, no soul, self-awareness, sense of being. Endlessly experimenting for the perfect creature.

Grathir took a liking to the thinking of insects and so insects themselves, sharing the earth, and stealing nature’s secrets from them, and any animal he sees, to better make a better warrior, or defender, or striker, or pillager, or behemoth. Learning the strength of ants, then making sixteen foot long ants, and larger if needed.

Large-scale golems can be summoned from the sides of cliffs, especially mud pools, and minerals magma fields, and mountains. From sand there is glass, and forest there are tree vines and ground.

Class is form.

Type is material.

Crystal may be used as amplifier of signal, from stronger golemer ‘grip’

Amulets or transparent crystals usually denote energy, and or magic, enrichment.

Metal ‘trim’ and pattern ornamentation are usually spells spelled out in geometric loops, shapes, and intricate design. Type of “trim” pending enchantment,

Ex.

Kettle bellies, which are common, are mortars thrown through upper left shoulder barrel, size variable troop, usually bipedal.

Ant forms vary from large to small, slender to heavy, ridden to warhorse.

Bees and dragon flies vary in size, much like ants.

Elephants and massive scorpions,

Snakes a snake out of a sandstorm.

Small goblin like humanoid troops.

Giant golems, from 10 to 100 foot tall. And higher.

Theoretically, Grathir, in his mastery can animate a mountain to quake to pieces and run down itself while forming into the shape of his choosing sending mountains of myrmidon in minutes to his enemies.

*Sometimes just a jumble of boulders, or a massive ball rolled over hills.

**TACTICS USUALLY USED AGAINST EACH OTHER:

SRATHIR VS. Each can overwhelm him, so he finds ways for them to occupy each other.

Vs. Dathir: is killed by Srathir later in story (around time Master Fa’deia is slain). Though the armies of death frequently siphon life from his alchemical landscapes they rarely overtake them, and hunt his followers whenever they leave their magic chemistry bastions with their chimerical beasts.

Vs. Grathir: his golem armies against his living landscapes, *some of the golems adapt to their environment as they fight, ex. taking on poison attributes of a jungle vine. Some environments absolve the golems and consume their minerals and magic, ex alchemical geysers, “gardens” or acidified swamplands.

GRATHIR VS. To overwhelm the undead, and absorb the greatly enchanted lands of Srathir.

Vs. Dathir: myrmidons primarily occupied by the seas of undead to his east, are themselves an endless swarm.

Vs. Srathir: overwhelming and snatching alchemical pools and lands, when he could divert resources from the swarms of undead forever marching into his lands.

DATHIR VS. He soars the skies wreaking havoc as a life ravaging raiding king, of packs of darkened wyverns and dread lands

Vs. Srathir: personally destroys anything he comes into combat with, along with his undead drake riding dozen dragoons commanding legions of corpses. Only the realization that he can be overwhelmed and captured stops, which has happened in the past, keeps him from running across to slay the other two.

Vs. Grathir: his armies are most at war with the endless supply of myrmidon flowing from the earth and mountains.

GENERAL TERRAIN of DEGNAS Island.

. Red sand desert, with bees, beetle, and giant land worms diving in and out of them, peoples live in the caves and caverns bore by them. Has patches of oasis, some that are actual reveries.

. Open labyrinth valley, of glass like semi-opaque walls and spires, and small islands rising out ponds and pools of a haze that the walls are made of, they coalesce with temperature/pressure/wind, to varying thicknesses, densities and expanses.

. Lights reflection geodes, these are adjoined to the open labyrinth valley that collects and becomes to be at the center of a massive waning and waxing invisible citadel devoted to the creator deity. It is here that emanates immense amounts of diffracting light, and gravity wave volumes.

. Necrotic arcs, these range from wisps to whirlwinds, to massive long arc that stretch across the sky, they are the siphoning of exorbitant sums of energy being absorbed by the lands of Dathir replenishing themselves. Many beings of all sort from man, to beast collect around the crash points and engorge themselves like elephants around a watering hole. The land becomes negatively regenerated.

. Necrotic sinkholes, black holes to all energies, these are like soul and spiritual quicksand pits. Magical event horizons leaving spectral images and beings stripped, also used in many rituals for this reason. All landscapes are by Dathir’s dominion. These can be anywhere and sometimes appear after a necrotic arc depletes and the beast and man feast on each other.

. Jungle thick and top canopy, excessively dense jungle of varying degrees of tribal control. There are streams and rivers which these peoples collect around.

. Alchemical burnouts, craters and otherwise violent blemishes remaining after resembling varied types akin to nuclear fallout or chemical explosions. Often charred and truly lifeless or home to mutated peoples and beings using their alchemy to sustain their lives. Often heavily robed peoples. More resembling chemical or haz-mat workers then the others.

. Alchemical gardens overtaken, these are the alchemical and enlivened landscapes that have been taken, destroyed or repurposed by one of the other two, Grathir particularly seeks these, and benefits. Usually burnouts in process, sometimes aiding but usually complex and destructive Dathir attempts to utilize them.

. Ruins of golemer kingdom, a fallen golemer empire, and was the largest above ground kingdom, he relished it and its people. The fall of this land lead him to despise man as weaker than his golems, seeking to make them as strong, he pits them against the other to see which is stronger "flesh or stone" which is the moniker of his land.

. Ruins of alchemical kingdom in Grathirs wasteland, in Grathirs northern reaches is the destroyed alchemical kingdom which fell, and organization was lost, Srathir then seeing that men are lesser than the craft they practice, and their impurities of passion are what corrupt their potions. The two ruins were made a decade apart from the other. When Grathir’s kingdom of he, golemer and people fell, Grathir sought Srathirs life. After a decade straight of ceaseless waves, moving mountains and birthing the expanse of sands dominating much of Grathirs northern territory.

. Auexelain's altar-throne, this is a throne that sits nearly atop the alchemical cliffs, in a throne that is a massive rectangular seeming both tomb and temple to the six-armed seraphim centaur made of stone at its center.

. Scattered Meteor impact scar valleys, these are stretched through each of their territories supposedly from a series of meteor that struck, birthing the three Jinn, but this is legend, and they are largely forgotten. Sought by Srathir, for reasons not explained or to explore. But for exotic resources, and as a symbolisms of forever never understanding owns own inception.

ALCHEMICAL land examples.

. Living Kraken rain forest, an enlivened alchemical garden with a small witch and an altar near its center. The whole is built and grown from and on a massive Kraken, whose tentacles have many types of symbiotic spores, mosses, trees and other venomous foliages. A prototype to the vale, is meant to be a forest no one ever passes through. Poisonous spores fill the air to a fog, resembling pollution speckling neon colors in sun rise and sunset.

. Gestation geysers, fields of geysers, colorful minerals of all sorts, beautiful sulfurs, malachites, irons, copper, amythest, very many and a prize that Grathir has sought since his knowing of it, conceiving it as the holy grail of, it is a natural, evolution enhanced landscape that a thin veneer of magically acidic waters a foot high at their highest, and mud plains, the ground usually 'digests' the on-comer. Millions of golems lost to all types of strategy to capture and hold this territory. This blends into the mangrove as a geyser or plume forest.

. Living mangrove, chemical plumes these are still ruled by alchemical peoples, though part of a pirates, and bastards section, home to many of the bandits and gypsies of Grathir, once was a chemical plume factory, burning and boiling as a single acting experiment, of thousands of 'experiments' are the trees of the mangrove. This was overtaken and is partially used by Grathir to enrich his own units. There are 'resistance of alchemists present and spread as peoples of Everglades.

. Acidified marshlands, acidified is an understatement, this was once a series of prominent mixing pools for Srathir’s purposes, producing potent potions and greatly enchanted elixiers. So beautiful and so great in their strength, the armies of both his brothers in confluence destroyed it, creating a curse by their combined might, plagued wet plains with pools waste of waste so virulent their vapors alone devour flesh faster than piranha. There are extreme forms of bacteria, of chimeric mutation, and living land that are quite.potent.

. Alchemical falls, waterfalls that flow off the cliffs supposedly from the bodies of large alchemical lakes with several fields of chimeric fauna surrounding them.

. Alchemical cliffs, northern range of varying altitude, mostly composed of a particularly durable light gray spectral granite.

. Alchemical cliff citadels, primary base Srathir and bastion to many of his art's followers. These are actually massive mechanisms pipes and tubes and chambers that are created perform the seven stages of alchemic transformation of a substance.

. Stilts of Srathir himself = the tapering off of one of his cliff ranges into shafts and stilts, each actually different ecosystems at different heights and temperatures, all like biomes, terrariums.

GOLEM LANDS:

. Grottos, these like all his territory are for golem creation and perfecting properties, these are usually his form of mixing pools, often with diverted streams of magma running just beneath their surfaces. Most of the golemer’s structures look as though built by men made of stone, or even the most impermeable matter made as malleable as clay or fluid thrown about and dried to shape.

. Enriched Mudlands, a still surfaced extremely mineral rich flatland that reflect the sky above, of similar luster as wet paint, a great spawning point for Grathir’s operations. There are swathes of these spread through his land, with a great one cradling his main cavern system

. Tar fields, tars specially mixed, for different properties, many acting in ways enchantments would, this is because he imbued much of the dense fluids to produce specialty mass and skins.

. Specified Deserts, these are mixed in with his other grounds, and made from territory captured, he usually razzed the civilization captures and makes their bones part of the parching plains until they are inseparably one substance. These are his primary quarries of creation, capable of easily assuming golems from sand. Also sandcastles and glass structures are not rare, often intricate and beautiful.

. Crystal and gemstone caverns, these are vast and spread out no one location but what has been found throughout his lands and the lands of others, which he covets for their beauty to him, as a golemer he believes the other two can't possibly share. A source of gemstones, magical some being palatial, some honey holes and small as cubbies.

. Volcanic pools and underground veins these he cultivates and spreads to create metamorphic reactions, accelerating growth and greatly strengthening his metals, and forging capabilities. Many golems are born from this liquid flame and metal. Producers of much of the heat for forging the intricate loops of the Golemer enchanted or individualized golems, which the holder of the 'grip' usually creates to personalize the golem to their strengths and abilities.

. Mineral caverns, most of his lands have some sort of cavern system throughout, like massive ants his golems dig tunnels endlessly, though every ton they dig out becomes another golem digging. These ant colony like subterranean mega system make up the vast majority of his capital area and the societies under his dominion. Outdoor wells and towns are called 'tips' as in tips of the iceberg.

. Worm apple Salt Mines, these are highly prized by Srathir, and so Grathir relishes his possession of them, he experiments with their uses enriching his people’s population and his golems alike. It is the prime currency of his and Srathirs lands. These are of various color and property usually granting a greater 'intelligence' specialized ability or superior aptitude of the golem type used.

. Soot rivers, originally from massive underground fresh water wells, there are many disparate streams that come from one source appearing like strings loomed from a rope. Not all are soot but some are black as a sunless night, these are the rivers which carry much of his stones and peoples through his lands acting like a highway.

. Velatut valley, home to his greatest earthly cauldron, where he spends most of his days, a celestially aligned with the stars of constellations above, with plumes and grays seeming like a spread orchestra around the large cauldron center with miles of radius. This is a natural temple structure, he also made to his will, and is mimed as holy places and places of patronage of the goleming art.

DEATHLANDS

. Death River Nile, a massive slow moving river resembling the Amazon though similar to the Ganges to all the people of his land. Most parts are of various stages of the physical and spiritual death, one end being the start, the delta seen as the unraveling and releasing of the spirit. The death cults of the start of the falls are much older than those of the delta are much younger. Simultaneously represents to them the river of life and the river Styx.

. Necrocer sands, back and tonal looking sands that consume the energies of all who pass through them, with a hearty sect of nomads most attuned to the death sorcery of their master Dathir. The sands are clamshell silvers and iridescent sheens that is the floor atmosphere of siphoned life force.

. Wasted lands, lands wasted due to over pestilence in inter dwell knights ceaseless warring amongst themselves, home to much of their continued war. Of blighted fields, scorched by and colored by blood and gore stains stretch like massive inkblots of decay rot and death blotting even the most fleeting dream of hope from any with beating breast.

. Temples of the blessed damned, the temples of ritual sacrifice, and giving if to the death god. They worship and study the flows of energy and necrocers ways. The look and type of temple is defined by the type of dark arts ex voodoo, pagan dances, sacrifice for return.

. Lord death’s second throne, this is an altar and keep granted to the most powerful of dragoons and his, presently and for some time under the lineage of Aldir, whose sect like all persist t be the apex predator of the death lands. Of metal spikes and spires with wicked looking crystal base.

. Weslinder ridges, most wyvern nests, these are dark and often metallic looking. There’s are bunches of nests with the wyverns hunting men and beasts of all sorts, and are frequently breaking boulders of the cliffs in their aerial fighting to the death. The peoples who love below are treated as food and fodder, no matter how strong they may be. They take great honor in slaying a wyvern and the breeders take great honor in having their wyverns well fed on the fodder, and unbeaten by their greatest heroes.

. Blighted lands, common term for the whole o his land, and the damned kingdom. These range from normal-seeming landscapes with aspects of energy transfer and convergence. Usually fields open plains and deathly trees and wildlife.

. Tundra lands, devoid of any sorts of life but the most extreme, the most aggressive of the dwell knights, a breeding ground for their hunters and berserkers and death giants, which held sway before their numbers dwindle as they destroyed mountains of myrmidons they fell to an alchemical onslaught long ago. There is so little life it appears to have permafrost, like everything is petrified and frozen over.

. Sahara, the northern lands alchemically scorched by Srathir and loyalists to slow him and empower Grathir to make golems of the land, this made this land a hotbed for war between the two, while also guarding the northern land vital to Srathir. There are many skeletal remains that the death legions have taken to use to stem the golemers leading to a century-long standstill with great entrenchment.

DEGNAS CHARACTERS LIST:

VERAL- protagonist, sorcerer’s apprentice, alchemist, lost or wayward learner.

ELTREA- secondary protagonist, golemer bandit. Puppeteer of matter, rambunctious gypsy.

RIHILJARADEN- secondary protagonist, dwell knight becomes snide enchantment enslaved servant to Veral.

Three Jinns

SRATHIR- Jinn of ALCHEMY, magic bio-chemical molecular manipulation of natural processes, gene splicing, modify malleable matter, enchant substances.

DATHIR- Jinn of NECROMANCY, energies flowing, life and death.

GRATHIR- Jinn of GOLEMING, manifesting living form from inanimate life.

AUEXELIAN- a large six-winged, six armed stone seraphim centaur that has sat atop a cliff face for as long as they know. Sits in a temple, in the northeast mountain ranged overlooking the whole of the island.

MASTER FA’DEIA- the leader of an anarchistic Romanticists alchemical Zen clan under the patronage of Srathir and guarding a highly prized grotto terraced valley of alchemical pools resembling rice patties. Very power captured, by, unknown alive until later, undead, represents atonement with the father for Veral. He is the sorcerer master swept away leaving Veral seeking and superstitiously seeing synchronicity as the eternal wellsprings’ symbolic supposition of his circumstance as his new master.

SPECIAL GROUPS:

The many alchemical creations of SRATHIR, and his loyalists. Often as massive living landscapes, per Srathir and those lesser made by those loyal, and learned in his form of bio-alchemy. These include the land Kraken, living cliffs, and recently cognizant forests and swamps, rice paddies, geysers living as stomachs etc, the land is his lab, with his a bit of his touch. A masterful tactician he wishes to only be left to his insatiable intellectual appetite fed by an illimitable imagination for magical chemistry he makes all matter malleable.

Primarily stationary and defensive against GRATHIR and DATHIR at different intervals, with bio-alchemical living landscapes as main defense, and beastly chimeras of various forms fall before the fewer though fearless humans beside them.

The twelve knights of deaths master DATHIR, they fly mostly on small to midsized dragons, the greatest knights he has defeated, establishing what he conquers into a battle of the fittest killing machines, all of which practice more necromancy and dark forms of thought then the light they also possess. That is a limit he places on them. Also armies of undead knights each of the twelve is head of an order. When they die, the whole order must survive a day against all others.

The main aggressor and always at all out war with GRATHIR fields of warriors shaped from shattered mountains, he also assaults the alchemical territories to keep them on their toes.

Being the Primary means for GRATHIR, there are mountains worth of Golems of various sizes sorts functions and forays into creating subservient creatures of his own from any substance he sees, feels. Most for

war, as with cannon and mortar pot belly, or spider-legged, or wild elephants, or flying, many made by this marvelous sculptor of all the worlds substances.

Always at haunted by the blades and blackened blemishes of Dathir’s undead droves. He prizes Srathir’s alchemical landscapes for their physical qualities they could grant to his own creations. He is strengthened when he captures any sort of them.

Human-ish groups:

ALCHEMICAL KINGDOMS,(Srathir),(some of which are Veral's tribe) including disparate and warring jungle tribes, structures societies with intellectual academies, wayward wonderers, wizards of sorts. Areas generally more civilized do to less long-term incursions due to their master’s ingenuity, which they imitate with some success. Living in their adapted environments by baths and beaker, reflections and magic-induced scientific theory.

Northwest Territories, with tribe and smaller smeared, across the biomes of the Islas. They are usually very potent compared to their adversaries, though fewer, range from advanced to inept though powerful. They would literally rather read a book, deciphering moss, boiling something and hanging the composition of matter, but can easily be casually devastating in combat.

KEEPERS OF THE CORPSE FORTRESSES,(Dathir) a dark horrid land where many don’t know each flesh but the life force of others to persist, other would as happily cease and exist then as specters still present. Survival of the fittest slayer of others, with knightly order occult sects and undead dragons breeding in pestilence and plague. Lead by he and twelve undead dragoons, each king or queen of death before being granted everlasting life at his side.

Southeast is the dark dominion he dominates with the grip of death that’s forever reaching further inland. There are small and large sections of island engorged by dark energies as thousand foot arching vortexes pouring energies into his damnation of undead loyalty.

MYRMIDON MASTERS OF MARSHES AND MOUNTAIN,(Grathir)the humans under his control, or allegiance, are either beaten into it long ago or taken to it as a defense, he used to care very little about the kingdoms, and people who do learn, and pledge themselves to him. But he has come to see them as useful admirers aiding him in his own Goleming endeavors. Their societies are bolstered by golems, as workers, warriors, though none are aware. All are puppets, created various earthly to ethereal materials. They all aid Grathir in trying to make a flame golem that is an eternally cognizant individual from an inanimate object.

The central to south-west is where the peoples usually ride, manipulate and form the world as willed into their own machinations.

CHARACTER DYNAMICS of the main three.

Interactions:

VERAL: center, LEADER, the naive though idealistic glue that binds them, the two often are bouncing off him, and explaining to him as a form of exposition. He is empathetic to both, though for different reason, Rijil, he wishes to be a good master, thinking he will attain ability to free him, or take on good journey. She out of responsibility for her being left behind by her caravan and joining him on his own adventure.

ELTREA: Likes Veral sense of wonder and naive optimism, she is a pessimist, always bickering with RIJIL, for his attitude toward them both. Little more worldly west, though bandit, lows. Streetwise and crafty. Seems to dislike Rijil, but actually comes to have empathy for his shackled lot in life. She is pessimistic seeming, but even so often bubbly and strident against adversaries.

RIJIL: often bickers with Eltrea, snide and condescending to VERAL, who he is in reluctant servitude to. Obviously the most skilled in combat of them. Often angered, wrathful, on edge. Battle-hardened, battle wise

and brutal. Rigidly warms to Veral, always seem to dislike Eltrea. Desires to have a strong master, at times getting Veral to prove himself especially in combat.

IN COMBAT: Veral can be mid and far by alchemy and magic, and close by those and short sword. Eltrea is mid-range, far by her golems, shot and powder. Rijil close mid by his necromancer energy manipulation and shield shoulder, and two-handed sword. Veral is often either side by side with Rijil or in direct support close behind him, and she very close behind him. His alchemy comes to combine with Eltrea’s powders little sculptors to become enlarged golems.

LONG CHARACTER BREAKDOWNS.

NAME: Veral

OF: Degnas, sand edge

SEX: Male

AGE: about 18

PRIME OR SECOND: Prime protagonist

AS PRIME

HAMARTIA? His curiosity, though fuels alch, craft, wisdom, and quest

ETHICS: fair, civil to all.

PASSION: defend the weak, free all from Jinn

LOGIC: fighting well, clumsily conversing

DICTION: stopped high education early

PERSONA: quick witted, wishing to be brave, a vagrants appeal to strangers.

EMOTION: wonder and worry

MOVES: young jungle hunter, alchemist

OCCUPATION/WHY: lost amateur sorcerer alchemist

CRAFT/SKILL(if any): foraging, tracking

PHYSICAL BODY: scrawny and tall, malnourished

HEIGHT/SIZE: 6’0

WEIGHT: 140 lb

EYE COLOR: black

HAIR: sandy blond

SKIN: freckled sandy tan

ATTIRE: dusty worn blue and red, later y/b

DEFINING FEATURE: slightly long neck

COLOR ASSOCIATED: red clear, magic, illusion

WEAPON(S)(if any): rusty short sword, enchanted urn, alch magic. Salts perfumes stuff he collects.

LOCATED/MET: first scene.

SYMBOLISM: hero’s tale, man becomes creator deity

REPRESENTS: man as god, Prometheus to later.

PERSONA: foolishly following perceived signs, naive (also for expo). Of vague dreams.

INTERNAL CONFLICT: wishes to be wise, as powerful as master that is gone, enchanted by nostalgia to become an unattainable goal on own path.

BACKGROUND: he is idealistic child orphaned from the anarchistic arcane alchemical tribe overseeing the same magic bio-chemical terrace pools of centuries. The entire culture revolves around this function done in the patronage of Jinn Srathir. A mighty tribe overtaken sets him free of a master, of a mentor, using what he knows of his tribes laws broken, and reading things like the shift of a breeze as the language of the wellspring speaking to him. He is highly superstitious, applying parts of alchemical processes to life, he believes the universe in motion, in transition is his master, to go with the flow of the eternal entropic wellspring.

FACTORS/themes OF VERAL

Hero’s journey. Scenes to be symbolic representations of initiation ritual,(to GOD HEAD)

Sorcerer’s apprentice. An apprentice sorcerer alchemist, though lost, becomes wellspring seeing.

Sword and the stone. Because of his displacement, he is poised to learn from all. Unbound in a way

Genie lamp, alchemical mercury beehive, Rijilraden enchanted ashes urn

Prometheus, to found a later empire with three arts he escapes with.

Man as god (as man as god), through three arts + (Srathir to Auexelion)=fractal alchemy

Necro, life force, vapor

Goleming, form, solid

Alchemy, permutation, liquid

Eltrea’s equal.

FUNCTION: he is the prime, explorer of the world, along with ELTREA and RIJIL.

Focuses on him as he, eventually assumes the scrolls of dead ELTREA (ANIMAS), and absorbs RIJIL (ANIMUS) to be sole possessor of all three arts simultaneously. Thus by end of story making him in context, similar to (Auexelain) a deity unknown to all but the three Jinn, each derivative of him. And capable of escaping, the awoken Auexelain.

CONTEXT: home of rice terrace like alchemical pool valley tribe, is destroyed, his master/mentor is lost to him. Lives next decade self taught in the sands edge, a lush jungle instantly becomes a red orange sand desert, part of his home valley.

DESIRE: To become as wise and powerful as his former master, Master Fa’deia, which to him is enchanted to godhood by nostalgia. Impossible task, Making him sort of a forgetful perfectionist.

Ideally after some power is shown , to survive and free the Islas population regardless of their allegiance, seeing all as enslaved by the savage Jinn he wishes to vanquish all three. An unusual view to have among the sectarian Islas, allowed him by his orphaned youth.

To seek out his master which he hears whispers of, until meeting, leading to the atonement with the father, knowing very little at the start, this journey at first seems to be his prime motive.

OBSTACLE: HE is youthful and naive of world outside sand jungle edge. The whole of the island is at constant state of war, there is no place actually safe. And being on none, though all of their sides are difficult. He must reach deep into the Srathir’s alchemical territory. Evade and battle the armies of Dathir, and his undead dragoons, while outrunning the swarms of hive minded myrmidons roaming about.

CONFLICT: he knows that the journey is becoming more dangerous, and that he and she may not live, he feels responsible for her, but also the millions he wishes to free from the Jinn’s millennia long war. He must fight all of them and the doubts he has of his own ability.

TACTICS: usually to fight through or think of a clever way forward, begins with his illusion of attack imagery, that become real magic attacks, though the tactic of cleverness continues. Strong will power which becomes the defining reason Rijil comes to respect him, and lose to him.

Alchemical combines with Eltrea to make the enlarged golems. He can be mid close far, she mid far, Rijil close mid. Side by side with Rijil or direct support.

NAME: Eltrea

OF: Degnas, semi nomadic gypsy caravan

SEX: female

AGE: 20 ish

PRIME OR SECOND: prime

PURPOSE: as golemer essence of three, social interactions with other two.

HAMARTIA? Selfishness, which she later rejects, though rightfully it leads to her death (near end)

ETHICS: crafty, a conscience when caught.

PASSION: passionate, quickly immersed in present.

LOGIC: argues when right, or cares to, or just to squabble.

DICTION: gypsy caravan slanged snap speaking is a laid back language, spoken quickly.

PERSONA: earnest cunning, crafty, controlled in combat, can see people as being malleable as golems.

EMOTION: enthusiastic, engaging, emotionally potent.

MOVES: smoothly and athletically.

OCCUPATION/WHY: a golemer, so a tinkerer, and sculptor, knowledge of nature for materials. Adept at

CRAFT/SKILL(if any): fortune telling, cleromancy, confidence tricks. Theft, She’s a gypsy

PHYSICAL BODY: human female.

HAIR COLOR: coral pink, blue streaks, varies, often in woven braids or a wrapped cloth hat.

SKIN COLOR: coral orange tan.

HEIGHT/SIZE: 5’ 11’ with hair, hat tallest.

WEIGHT: 145 lbs

EYE COLOR: varies, mood stones though to presence of light.

ATTIRE: patchy bandit gypsy clothes. With stones and ring patterns sewn into them.

DEFINING FEATURE: her upbeat persona drives much of the verbal.

COLOR ASSOCIATED: pink, orange, yellow. Small blues.

WEAPON(S)(if any): two gunpowder smoke spewing pistols.

bag of stones, gems and substances of all sorts for sculpting little golems.

LOCATED/MET: the jungle, sand edge near river, ep. 1

SYMBOLISM: feminine opposite Rijil's masculine to Veral. Mothers sacrifice for love.

REPRESENTS: the female, and master crafter.

PERSONA: a bashful, playful character, with more exhilaration than fear.

INTERNAL CONFLICT: hates being a gypsy, loves being a gypsy. Comes to care for the other two, when supposed to be selfish by her caravans social structuring.

BACKGROUND: she is a highly skilled young gypsy in all that that means. Raised on a nomadic caravan all her life that act covertly for the moment though less often long term as they never stick around for long enough to feel the consequences of their snake oil wheeling double dealing palm reading culture. She like all of them sees little past the day. She was forced to do confidence tricks, and other forms of street thievery and trickery since her first steps and like all the gypsy children before she could speak she was used as bait or a distraction for her clans misdeeds. All most always outnumbered and resented everywhere makes them thick of skin and psyche, ardent in their individuality.

This in turn makes them more inventive in the sculpting skills they’ve picked up and honed for artistic trinkets to barter with and their own protection with golems when outnumbered. More a product of her upbringing, similar to how Veral sees he would be if he kept with a mentor, though she relishes being free, while he clings to the concept of apprenticeship. She makes many the sounds of a raven, and adores scorpions. Often only calm when crafting an intricate trinket, or mixing special gunpowder. A pistol sharp shooter, respected though disliked by her clan for her non-adherence to more archaic social laws. She rejected a forced marriage and beat the man in pistol myrmidon a duel. It obsessive about the golems she creates, may have a familiar.

The caravan clan is a dog eat dog bunch of crafty troublemakers making her much the same at first, though this shifts to empathy over time. As the battle nears they disown her like a mother does a baby bird because she brought Veral back to the nest. Maybe flapping at her in taunting as they leave.

Themes: of Eltrea

Wild adventurous youth.

Mysterious mischievous girl.

Mad tea party with golem “friends”

The puppeteer of matter marionettes

Motherly caring creator

Master crafter of intricacies.

Veral’s equal.

FUNCTION: to interact with Veral, often bickering with Rijil. Showing characters of each by contrast. Through action and conversationally being one of the prime movers of thought and action throughout most of the story. As the Golemer essence of the three arts, representing the conscience of the golemer philosophy, in context of the three arts being three aspects of a deity. As brash smooth talking, cunning clever of the three. Often as the mouth piece. She is present and part of first threshold, supernatural aid, all rites, up to apotheosis. She is present as one third of the whole, her anima is her scrolls, which along with her “spirit” are absorbed (Possession of scrolls)(memory of her) by Veral upon her death.

CONTEXT: recently abandoned cool gypsy chic that blames Veral, and holds him responsible for this, a consequence of her trying to save his life. She sticks by him and they grow together overtime, though she is always seemingly selfish and out for herself. Becomes tale of fitting in.

DESIRE: to free the peoples of the plain from the constant war when affected by Veral’s idealism. Also to get back to her caravan, and to live a great adventure instead. In her is an innate double think, of what she wants, and her culture expects of her, even though she is separated from them. Of emerging from the past to be in the present and face the future.

OBSTACLE: with her power she cannot raise armies to free areas enough not to have to struggle to live, and feels as though she has no home, she dreams to found it as a free territory. Over time finding these sentiments only when with the other two.

CONFLICT: whether she should stay, stay loyal to the other two, or give in to desire to be a lonely gypsy. Whether she can actually aspire to the dreams she has of being free.

TACTICS: manipulation, cunning and clever us of her, though she is brash she stays with Veral, as it’s also her first foray into the world, a dangerous world where many are predisposed to disliking her kind. Staving off the feeling of selfishness and embracing the trio over time.

Dynamic, also she uses astrology, palm reading cold reading on Veral, often, who is susceptible, compatible due his seeing of nature as mentor. She usually running joke says to read stars for him, is put off.

NAME: Rihiljaraden, ‘Rijil’

OF: Degnas corpse knight, four decades previous.

SEX: undead male

AGE: body around 20 ish mind unsure,

PRIME OR SECOND: prime

HAMARTIA? His will to follow his duty.

ETHICS: of honor above all things, though defined by his death cult knighthood

PASSION: of wrath, anger rage, and adherence to ritual.

LOGICS: speaks frankly then uses force, quick to his blade.

DICTION: highly eloquent, and educated.

PERSONA: usually silent, talkative of wars, destruction tactics, and survival. Snide to Veral.

EMOTION: rage, and contemplative wrath.

MOVES: as though never out of combat.

OCCUPATION/WHY: Dwell knight, formerly of order of blights ritual.

CRAFT/SKILL(if any): survival, sword, battle master.

PHYSICAL BODY: an undead lean muscular body.

HAIR COLOR: ash brown, often under helmet.

HEIGHT/SIZE: 5’ 8”

WEIGHT: 130, 270 with armor, it is very thin. As though by magic!

EYE COLOR: grayed violet to white.

ATTIRE: thin light heavy armor fitting blue battle battered and blemished armor with spike back of hands, top of feet, rhino horn on helmet center. Has a shield on his right shoulder, he uses it to guard and ram flow of combat. When his helmet, only face guard, is on only his face can be seen.

DEFINING FEATURE: a raspy sure voice. Silver Bracers on ankles and wrists, from the urns ashes enchantment.

COLOR ASSOCIATED: blue, black and the glowing silver of his shackles.

WEAPON(S)(if any): one, two handed long sword that is a life force, enchanted ceremonial death blade, allowing affliction to be used. Also Necromancy, minor healings.

HAS a golem familiar that is like a small bipedal koala bear.

LOCATED/MET: on massive battlefield of ep.2. Between Dathir’s swarms and Grathir’s golems, with troops of alchemical kingdom fighting both. He is enslaved to the ashes of a great alchemist. Ashes in urn, which is in possession of another alchemist who dies aiding Veral. Veral comes into possession.

SYMBOLISM: knightly virtue of duty, life and death cycle.

REPRESENTS: death as a matter of life.

PERSONA: a pragmatic, skilled tactician and warrior, quick, to the point, though a bit disillusioned after decades in servitude to possessors of the urn. And alchemists at that. He often refers to fairy tales from times before theirs, showing he is a child at heart.

INTERNAL CONFLICT: between fulfilling his dwell knight duty, or loyalty to Veral. Though must serve Veral as per the curse on him. He for most of the story wants Veral to die so he will get a new, better, master. Though comes to like him, and Eltrea more than he will admit.

BACKGROUND: rose through the ranks of the dead as a naturally gifted learner of necromancy and mighty dwell knight aspiring to rise and replace Dathir’s first dragoon as the strongest commander of corpse knights. Seen on battlefields as a mighty warrior and rising warlord among the blighted knights who is feared by foes and friends alike. He was ambushed during his meteoric rise by a strong alchemist he was pursuing, who to save his own life cast an enchantment on the young dwell knight, enslaving him until his ashes are under the earth, or his master frees him. Essentially massive death cults that feed on energies, worship the imbalance allowing the transfer of positive and negative forms of energies all around them. Filled with zombies, siphoning of life energies to survive, ghostly armors, specters witches voodoo warlords wicked knightly orders and hell spawned minions undead beasts.

THEMES: of Rijil

Oath of life, oath of death, cycles

Who’s knightly virtue

Reluctant genie of ash urn,(mercury jar)

Master and servant

Serve tradition or serve humanity.

Dwell knights or Veral, after shackles are broken.

FUNCTION: by his blade he is the might of the three, a stark contrast to the bubbly impassioned Eltrea, who he often differs in opinion with. He reluctantly, but loyally, serves Veral. Together Eltrea and he act sort of as good and bad to Veral. He is the essence of the dwell knights (transfer of energies.) epitomizing their matter of fact view of life and death cycles, that it is all transitory, and the kingdom that remains are what their fleeting lives pass through.

CONTEXT: met and introduced in ep 2, during massive battle, which Rijil is enjoying until, his master dies and in turn the urn finds its way to Veral. Who then becomes his master. This completes the trichotomy of the three arts among the main characters.

DESIRE: at first to free himself and return to leading armies of dwell knights, which he has been made to slay, along with many golems among others. By doing so he serves his duty and sense of knightly loyalty while in the “shackles” of the urn. Restore to honor and the cycle of energies.

OBSTACLE: Veral doesn’t know how to free him, the (alchemical sentence) and finds him useful for protection and guidance. It has been decades since he was among the dwell knights as an ally. His heart over the story wavers to the liking of Veral and Eltrea.

CONFLICT: must eventually choose between Veral, and his dwell knight oath. This is his prime character motivation. His highly esteemed sense of loyalty to his patron, though his patron is his master, who he views as beneath him, and he is a shackled servant.

TACTICS: at first he undermines, tests, incessantly doubts, demeans disrespects and leads Veral down dangerous paths of dark arts and generally into danger. Which he sees as testing his masters’ strength for suitability.

JINN CHARACTER ELONGATED.

NAME: GRATHIR

OF: Degnas

AGE: almost immortal.

DICTION: of ancient, all languages.

PERSONA: researcher, and unchallenged king of moving mountains. Seemingly the most rational of the three.

EMOTION: thoughtful, purposeful, and boastful. Though likable.

MOVES: slowly, with untested reflexes. Golems do nearly everything, natural magic born automatons.

OCCUPATION/WHY: Jinn master golemer to a degree unattainable any beside himself, because he literally is the embodiment of the craft, and his existence spread it through the island.

CRAFT/SKILL(if any): invisible link over millions of individual automatons at once.

PHYSICAL BODIES:

HUMAN, his most common form, Made of flesh and bone mixed with minerals, is elderly sickly looking long silver haired man with a near permanent scowl from always seeing, performing millions of functions while creating and experimenting to “perfect” his craft.

JINN, red and orange gaseous sultan seeming a wet moving clay man obviously containing spectral energies. Also is of his self spread vaporous reddish blue that he uses to directly possess and greatly empower, by his essence enriching the substance, his most special golems. He does not die if they crumble.

DRAGON, large brown and yellow dragon with crippled wings. He doesn’t use it. Srathir once tricked him and skinned this form of its gems and precious stone scales, and crippled him. Also using Goleming techniques that form is obsolete to him, ex. Make himself a golem to ride with the mass of a mountain.

HEIGHT/SIZE: 7’0”, same/amorphous, large.

WEIGHT: tons to a feather.

EYE COLOR: no iris stars.

ATTIRE: robes made of red and earth orange clay made into texture of tattered cloth.

DEFINING FEATURE: a crown he wears

COLOR ASSOCIATED: stones, earthly and gemstones.

WEAPON(S)(if any): a long handled hammer, scale, a cudgel. Magic control to control and shape any form of matter at will, extreme amounts of it.

LOCATED/MET: later in story, possibly not directly, interacts with other two Jinn.

SYMBOLISM: man as maker of more like himself, recreating self, and so becoming depiction of god.

REPRESENTS: embodiment of the craft of “Goleming”

BACKGROUND: Born from a spit of the lord creator. After his creation, long ago with the other two counter parts all three innately wish to defeat the other two, he has been amassing and perfecting the perfect myrmidon army. In doing so, he is at constant war with the other two. Developing crystals as amplifiers of the abilities. Often seizing lands of the other two for their earthly substances. Prizing Srathir’s magic chemicals landscapes and adapted wildlife, and Dathir’s energy transferring properties to better power and empower his seemingly endless myrmidons. “The island itself will be exhausted, sunk by before a leave this life to one of you.” Dominates the central and southwest regions, mountains caves cliffs and marshes.

To the main three characters against his minion are usually battles of attrition, or overwhelming giants or numbers, etc.

FUNCTION: Jinn, essence of Goleming.

CONTEXT: he is in an eternal war with the other two. Also has a perfection, which is the zenith of craft to aspire to, may be unattainable as he is image of god, not itself a god. That is to create a free being, to birth an aware species.

DESIRE: to defeat the other two Jinn and assume the stone of the seraphim centaur. Also to put cognizance into one of his creations, granting it true free will. To be Geppetto. Thereby fulfilling the god like aspect of his art.

OBSTACLE: the other two are also in an eternal war with him. The need for materials and types of land necessitate his aggression and expansion in this war. Often thwarted by Srathir and occupied by Dathir’s undead.

CONFLICT: he doubts his ability to ever overcome the other two, as he has long since been most often between the other two. His golems moving living earth being the most slaughtered.

TACTICS: grab resource rich environments, and recipes from the alchemists. Learn from Dathir’s undead to make energy transfer “batteries”. Working both of these into enhancements, and “trim”

NAME: DATHIR

OF: Degnas corpse kingdom of the east.

SEX: Jinn, masculine

AGE: eternal

DICTION: a raspy arcane static thunder

PERSONA: an iron fist totalitarian dictator,

EMOTION: a disturbing person to be around, being a living embodiment of death. Theft of the woman has made him a wrathful death lord.

MOVES: either silently stealthily, mostly violently abrupt always in combat.

OCCUPATION/WHY: of the necromancers art.

CRAFT/SKILL(if any):

PHYSICAL BODY:

HUMAN: is the armor he has attained containing his genie form, so he is his human form though undead, possessed by his Jinn with the armor encasing mummified enchanted body of a great golemer from the primordial days, giving him rudimentary exact will over some of his creation. This makes him neither human nor Jinn but in transfer to the other. His primary form. The armor is bound to the bones and his being. Drains energy and moves energy at an extremely great rate.

JINN: green with a sultan’s cap and a vest, otherwise a genie looking green specter of illuminated green sandy vapor.

DRAGON: a large deadly black winged viper like silver white armored dragon. Breathes the negative energy that is canceling out all energy drains life, color, motion, withers air, all. An extreme version of the energy he uses normally, a liquid to vapor black ink like energy that is negative the visible spectrum.

HEIGHT/SIZE: 8’ 0”

WEIGHT: 900 lbs, but not girth, densely for battle mass.

EYE COLOR: a scene in his eyes that draws the person into them, projects beams of black light.

ATTIRE: heavily armored though armor is extremely dense.

DEFINING FEATURE: the rapidly increased movement from energy he emits by his presence.

COLOR ASSOCIATED: black, white, negative of visible spectrum.

WEAPON(S)(if any): necrotic, ‘purple’ energies.

LOCATED/MET: intro first episode.

SYMBOLISM: death and life, cycle of existence non existence.

REPRESENTS: duality personified.

PERSONA: he is for the last century wrathful, though is actually exists as a force of nature.

INTERNAL CONFLICT: he is forever fighting an infinite stillness, that he knows is absolute and will even outlast him.

BACKGROUND: he allows them only the dark negative arts, being sole possessor of the light, he is greatly empowered as the almost the sole beneficiary. The more dwell knights he has the greater healing powers he has. This perversion of the balance of life and death grants him great powers, almost undefeatable in combat. He slays and the more he slays the greater his ranks grow and the greater his light powers grow to balance that. His very existence is based on this. He fell in love with a beautiful undead queen, and showered her with glory and gifts. She was kidnapped by Grathir, and then captured by Srathir, who holds to this day as blackmail, ransom, and her abundant light energy as a ‘battery’ to boost the power of some of his favorite alchemical gardens, as

well as his primary bastion. Both of the other two hide from him, and fear him knowing their whereabouts. He does not far death, but capture, and internment which has happened in the past. He escaped.

He is the mightiest by far of any warrior on the island, and equal in magical capabilities of either the other two. The loss of his love who he shared allot of light energy with, greatly empowering her, was a great loss to him. Making death a wrathful death a being acting almost instinctively striking anything around, stillness and coldness of a reptile.

FUNCTION: he is mostly peripheral never faced head on, or head on toward the end only when about to face, or after Veral slays stops, the possessed master Fa’deia (atonement with the father) and the prime action leading to complete apotheosis. He is a looming danger and the peripheral of his actions facilitates the master Fa’deia, and the battle of three near end.

CONTEXT: peripheral to plot, though many of his minion, maybe a dragoon or a few but he is most represented in Rijil, and the resurrected and possessed master Fa’deia.

DESIRE: to slay the other two sides to show that the duality, reality is itself in transition or there is true death, of non existence. So in a way trying to prove to himself he is not truly death, but a creator of life by sustaining the cycle. Though he is the symbol of decay and death to the continent he actually wishes to capture and possess both of the others Jinn, when both of them want to wipe the others out. Free the sapped woman when he fell in love with her deathly beauty long ago.

OBSTACLE: the armies and land of the other two. And the wrath that has come over him due to Srathir’s outwitting him make him more volatile, and less strategic, almost as though acting out of impassioned instinct, he may be under a sort of spell because some he gave fountains of life force to is captured. Thus misbalancing Dathir who see himself as duality personified, angering him more.

CONFLICT: savage and ceaseless war with the myrmidons of Grathir, and not able to directly assault the elusive Srathir.

TACTICS: sail the skies seeking the most powerful and leading in the massive war engulfing the center. While targeting Grathir’s more supple supply spots, and using the necrotic arches to enrich and empower himself to overcome the swarms of myrmidons and consume the specifically enriched lands of Srathir when he can. A plan in shambles as he himself is almost always in wrapped in savage combat or terrorizing the skies and earth alike with his pack of wyvern.

NAME: Srathir

OF: Degnas cliff highs.

SEX: male, female, usually male.

AGE: immortal

DICTION: highly articulate

PERSONA: highly inquisitive pondering at all times, seems more then on persona, depending how much attention. This varies to a hyper in zone character, and a seemingly melancholic strategist.

EMOTION: vary by intensity of interest.

MOVES: smooth, purposefully, precisely.

OCCUPATION/WHY: the essence of and so the apex master magic alchemist.

CRAFT/SKILL(if any): mastermind tactician, apex

PHYSICAL BODY:

HUMAN: a six foot tall dark purples, resembling a judicial robed though with many pockets, including a kangaroo pocket in front belly. His easel of different greatly enchanted, William turner coloring the tonal

blandness of the normal world, extension of his passion, and ability to manipulate spores and moss in the same way as though all substance atomic bacteria. He wears glasses, deals in the three phases. A snapping fingers and sneeze is this lesser though most accurate mimicry of the creator deity, existing easily while creating complex genetic structures. Appears as both youthful, and elderly, neither is feeble.

JINN: a bright blue, red, spectral that aligns as visible molecules constructing out of fractal vapor to form a humans silhouettes shape.

DRAGON: a beautifully scaled continuous spectrum dragon with crystal and mercury bones and

HAIR COLOR: blue, red, violet and black.

HEIGHT/SIZE: 6’ 0”

WEIGHT: 150 lb

EYE COLOR: incessantly and insanely staring starlit eyes. Always gloved.

ATTIRE: blues and reds which appear as violets. Has mercury metal trim, glaze to all his attire.

DEFINING FEATURE: always gloved, simple perplexity to his nature

COLOR ASSOCIATED: blue red, supposing violet.

WEAPON(S)(if any): the alchemist’s sword, alchemist scale, alchemist feather,

LOCATED/MET: peripheral, as concept of Veral, and later directly, shown doing simple things that are pat or an analogy of much more complex plans, and plot points.

SYMBOLISM: the philosopher king.

REPRESENTS: zenith of magic and scientific processes.

PERSONA: a strident enlightenment era Romanticist. His seemingly omnipotent presence informs much of how he is perceived.

INTERNAL CONFLICT: comes to questions his own, being soul, and understand, when the other two do not, that they are the entire same whole. Essentially develops a soul, and context of own creation.

BACKGROUND: think one man enlightenment revolution. If you watch him he seems to be doing very little lifting a switch her, throwing salts there, as though all is a plan that he is sort of bored with, that is supremely understood. Where golemer deals with mostly solid, and the necrocers with “latent” energies, Srathir and so subsequently his loyalists focus in the shifts and phase and form. His magic is styled after the age enlightenment, like optics and gravity, shock waves and such.

Themes

Dna, splicing, master of evolution.

Magic, science terraforming

Zenith of ingenuity

Master of scientific thought, combined

The magical sword and the scientific stone

FUNCTION: felt by most of the island population of the unseen master of the island.

CONTEXT: mostly off screen, though the area he controls, and his alchemical citadels on the cliffs are where the main trio are inevitably heading. So his essence is more evident later.

DESIRE: To slay or enslave the other two to further his experiments. Wishes to combine the three arts to become the creator deity himself, something other of the other two know. They only learn bits of the others craft. With Goleming to create a species that are all sacred alchemical mechanism that combined with necrocery can form into an immortal Frankenstein destruction. Of which much of his landscapes “battery” powered living

landscape system were created. This depends on them invading his lands, which he obviously anticipates. To attain eternal knowledge of all things, to become the creator deity himself.

OBSTACLE: he’s pitted the other two against each other and hides away, nose constantly in his experiments and ponderings. Has to figure out how to correctly lead them and their swarms into his heavily entrenched and enchanted enlivened lands.

CONFLICT: weighs the price of the living humans and their lives perceptions and souls, questioning whether his desires are worth the lives, and incessant wars. This is a recent feeling as he has been conducting the experiments with the idea of people as just advanced collections of matter, but soul has become his preoccupation. Also wondering of his own soul and being. Deity is plasma, is the invisibility of sound is transcendence to him. Which he correctly suspects the six arm seraphim centaur to be a manifestation of.

TACTICS: to try and take back lands taken by Grathir, that is vital to his plans and get possessed Master Fa’deia back from the grips of Dathir. Veral doesn’t know he is possessed, and the spine of the story is Veral seeking his lost master.