Divinus will be a story about a pantheon of deities, their creations, and the world of Galbar as it is shaped by our collective actions.
It is unclear to all how the world came to end, but it is ending. The blooming flower of the cosmos, constructed through the toil and labour of the Old Divinity, fell into chaotic disrepair, and now, there is no saving it. Most of the Old Divinity have vanished (all, according to some), and guardianship of the breaking mortal world falls to the New Gods, brought into reality by the tumultuous forces of cosmic disarray. How did they manifest? Did something or someone create them to continue the legacy of the Old Divinity? Can the world ever return to the way it was? Nothing is known; nothing is certain. The only truth that remains now is that the world is collapsing, and the New Gods must save it.
Though (most of) the gods may share the mission of protecting the world, like the mortals they rule, no mind is like the next: Right and wrong, good and evil, civil or uncivil - these are but a few of the concepts which definitions may differ across the pantheon. Alliances may form and break; intrigue between the divines may undo centuries of good or bad blood; and holy wars may break out at any time and plunge the world into chaos once more.
The New Gods have been granted the gift of divine ichor - the very substance which flows in their veins allows for the manipulation of the fabric of space itself. It remains unclear why they were chosen and who made that choice, but it is certain that this power will in the future shape Galbar into something unrecognisable.
The roleplay is divided in turns. They may denote the passage of IC time, but this is left up to player-specific plots and RP-wide timeskips will be agreed upon in advance.
Each turn gives the player 3 Major Action (see tab) points to spend. These will be refilled upon reaching the next turn and will not exceed the max amount upon refill even if nothing was spent during the last turn.
Turn 0 takes place during the Apocalypse. This gives gods a chance to unite mortalkind and save them from doom, all while shaping the dying world into a liveable habitat for the coming age.
Upon the end of the turn, the world enters a multicentury timeskip where the gods rest and recoup after saving the world. During this time, the world’s technology level advances at the maximum to a 16th century level, with all the architecture, science and black powder that implies. During this time, the populations of the world have formed many societies, some player-created, some not. The narratives created from the interactions between these societies are sure to draw the attention of the gods once more.
Domains are 'elements' of the universe over which a god rules. These 'elements' are broad and can range from the obvious (Love, War, Death, Crafting, classical elements such as Water and Fire) to the abstract (Journeys, Secrets, Purity, Loss). They often align with aspects of a deity beyond merely what powers they command, especially in their worldview or personality.
Domains can be shared by multiple gods, and while it’s not strictly required, it is highly encouraged for gods that share domains to occupy different themes within that domain. For example, between two gods who both occupy the water domain, one can be a god of the seas while the other can be a god of the rain.
New domains are acquired through narratives, usually a Quest, wherein the player should convincingly show their god’s journey to understand the aspects of the domain they wish to acquire. While there is no hard cap on how many domains a single god can acquire, one should be wary that, like in any other facet of life, growing too big too quickly may draw many jealous ires.
A major action is any action that affects the world in a large, meaningful way that would inherently affect others. Examples here would be causing a volcanic eruption, carving out a gulf on the continent or annihilating or otherwise altering a large biome, creating an artifact or monument with a regional or world-wide effect, creating a world-wide or regional phenomenon such as aurora borealis for all to see, etc.
A minor action is any action that does not affect the world in a large, meaningful way and does not inherently warrant a reaction from other players. Examples here could be creating localised species or biomes, creating artifacts or monuments with a localised effect, or blessing or cursing individuals or small groups of characters (players do not need to use a major action to bless or curse individuals or small groups of other players’ characters in collabs).
Examples of Major Actions:
Creating a massive mountain chain.
Creating a singular, small mountain would not require MA expenditure.
Creating singular, small mountains REPEATEDLY to get around creating a singular chain will result in MA expenditure.
Altering the color of the sky.
Altering the color of the sky over a specific village would not require MA expenditure.
As above, altering the color of the sky REPEATEDLY would result in MA expenditure.
Creating a Sapient Race
The creation of a single member of an extant sapient race, with no notable features beyond being singularly created, would not constitute MA requirements.
Examples of Free Actions:
Creating a field of strange colored plants.
As this would require a very specific, intentional post by a player to visit, this would not require MA.
Creating a MASSIVE field of strange colored plants, large enough to constitute an unmistakably large biome, would require MA.
Spawning a species of unremarkable animals, like cows, in a given area.
As this would be a very specific introduction of animals to an area and would not necessarily affect others, this would not require MA. Spawning cows in every biome on the continent would, by nature of now requiring other civilizations to interact with cows, require MA.
Creating a sword that glows
As this sword has no serious effect on the narratives put forward by others, this would not constitute a need for MA expenditure.
Creating a sword that glows so bright it can blind gods and heroes would make it able to seriously affect others in RP if ever they were to interact with it, and thus requires MA expenditure.
The List of Things Not Done and Further Addendums:
Destroying the World
One may never spend MA to destroy the World. One may never spend MA to make something that destroys the world.
Creating New Land Mass
Additional land cannot be made regardless of MA spent.
Islands, as example, can be raised or broken off from the continent.
A God may not be killed solely through MA expenditure.
The narrative death of a deity can only occur with approval from both parties.
Altering Global Physics
The laws of physics cannot be altered on a global scale.
In example, gravity can be altered in a building for free or in a biome for MA.
Exterminating a Species
Creating a race costs MA; destroying an entire race is impossible.
Overtime, with approval of all players associated with said creation, an eventual extinction can be discussed.
Destroying Player Content
Destroying player-made content, such as a civilization, can never be completed by just expending MA.
Damage can be done to other people’s creations without consent and with MA expenditure, but complete destruction can only be done with consent from the creator.
Advancing Technology Recklessly
Technology is restricted to a reasonable rate around the time period; humans require many lifetimes to figure out major advancements, even with assistance.
Some groups can be more advanced than others, but must remain within the reasonable limits of the period.
Creating New Worlds
Creating entirely new worlds in an attempt to get around the rule against creating new land masses is impossible.
Creating some sort of lunar body, however, could be done and cost MA; it should be nowhere near the size of the planet and be more in line with a small asteroid whipping around the world.
It is impossible to create another god through MA expenditure.
A new god may only be created if a new or returning player narratively creates one, and may be created spontaneously or through potential acts of other gods.
The list above is not-exhaustive.
Additional addendums may be added if and when such precedences need to be set.
Heroes are mortals who have completed some extraordinary feat, enough to be written into the Cosmic Chronicles. The Cosmic Chronicles is a metaphysical registry of names and the great deeds tied to them. To have one’s name written into the Chronicles grants the named powers related to their deed.
Here is an example:
Anatzasia is your average village girl, living the day-to-day life at the farm. One day, she is out picking mushrooms in the woods when she hears a scream. She runs over to see what’s the matter and finds Vanya on the ground with her hands in a desperate guard, shadows in the shape of three goblins looming over her. Thinking quickly and feeling brave, Anatzasia reaches for a nearby stick and runs over, knocking out one goblin cold. This draws the attention of the others, and through a feat of perseverance and unyielding courage, Anatzasia manages to defeat all of them, even as they managed to hurt her badly. This lets her and Vanya escape before the assailant regains consciousness and earns Anatzasia the respect of her village and a spot in the Chronicle as a “Saviour”. This grants her powers related to her act, such as maybe better hearing when someone nearby is shouting for help, faster legs when running towards that person, or stronger strikes when fending off an enemy trying to attack a friend.
It should be noted that the act should be heroic for the Chronicles to accept the name. If Anatzasia only had had to knock out a single goblin, then the feat would not have been heroic enough. The deeds should be of extraordinary quality for the Chronicles to care. Other examples including valiantly leading a charge or defense in a battle, saving hundreds from death with medicine or healing magic, uncovering ancient knowledge and so on.
Like with domains, there is no limit on how many titles can be acquired, but all mortals should beware the danger of hubris, and know that anyone who flies too close to the sun is bound to burn and fall to the earth once more.
It must be noted that heroes are not immortal by default, but literal and metaphorical immortality are both possible feats. Literal immortality (or longevity) can be achieved either by being blessed with it by a god or by drinking water from the Wellspring (which must be done as a quest); metaphorical immortality can be achieved by being so heroic that the hero’s lineage will be remembered for the progenitor’s greatness, granting all their children the title “Descendant of [HERO NAME]”, which allows for the inheritance of one of the progenitor’s physical titles, mental or magical titles per child.
Holy orders, unlike in previous iterations, no longer function as what are essentially collective heroes. Instead, since heroism now is decided by deeds rather by blessings, holy orders will function a lot more like they did in history (see monastic orders, knight templar, warrior monks and so on), i.e. be groups where characters can train to become heroic. Holy orders will rely a lot more on their individual members to appear heroic, such as order grandmasters, elite veterans, magisters, high priests and the like.
That being said, orders that do collective efforts can acquire feats that affect the whole order. Example: A monastic order that frequently sets up soup kitchens for the poor could be titled "Generous" and find that the more they give away, the more they seem to get back in terms of ecological and social goods.
Additionally, gods can bless monastic orders or cults with abilities and powers, but this does not inherently make them holy orders like in previous iterations. Like with heroes, though, divine blessings can contribute to an order more easily achieving heroic feats.
Artifacts and monuments are respectively extraordinary items and structures created by gods. These may be created using a Major Action or Minor Action, following the respective rules for point usage. In general, very few artifacts and monuments warrant the use of a Major Action, as their effects are often localised in both space and time. That being said, some may have effects which follow a character, changing the world around them, or change a locality so much that it starts affecting the surrounding region. This tab offers some examples of what counts as major and minor artifacts and monuments.
Major artifact examples: A box filled with disease that could cause widespread devastation across the realm; a crown that forces others to kneel before its wearer; a staff that regrows the forest rapidly wherever it's brought.
Major monument examples: A tree that sucks the life out of the soil of the surrounding land; a temple that spawns roaming spirits that suck the dreams out of the skulls of bypassers.
Anything which effects are highly restricted to the locality, like simple flaming swords or everlasting hearths, can be made for free.
The gods that players will be playing are known as the New Gods, spawned from the chaos of the apocalypse that ended the Age of Legends and sparked the Age of Mystics. While being nowhere as powerful as the Old Divinity, they are still immensely mighty beings in both strength, skill and vitality, and they have the power to manipulate the fabric of the world, performing miracles unachievable even with the most powerful magic. However, they are not all-powerful and certainly not all-knowing, and in many ways, the gods are like mortals - the only difference is that a temper tantrum in the Divine World may level cities.
There are some who believe that the gods are not alone - that one of the Old One (or ones) are still watching over them. They go by many names and have been prescribed many forms. Many who seek order in the chaos hold the belief that this master created the New Gods before all was lost; others reject this idea, believing the Old Divinity to all have perished without a trace. Others still find themselves in between, and some wish to undo the world altogether. Whether this Old One exists, is unclear, but to some, having a Master in times of uncertainty brings order and stability.
The planet “Galbar” is gone. All that remains of her now is an island the size of a continent, floating on its own in the darkness. In its centre, the greatest mountain range in the world pierces the heavens. These mountains are the home of the gods, and they live atop them, within them and below them, centered around the Divine City. In the centre of the mountain range lies the Wellspring, which in cooperating with the rain provides all the water on Galbar in a perpetual flow.
On Galbar, everything has a soul and everything has a mind - from the smallest grain of sand to the seas themselves. With the right competency, one can potentially communicate with anything and hear their insights and learn their lessons.
The world is much more than just Galbar, however; the collapse of reality has opened doors to other facets of the multiverse, manifesting in the form of Layers. Layers are parallel realities with completely different worlds and life than those of Galbar. These can be accessed by gods and mortals alike, but one important factor should be noted: The worlds are fundamentally different, and so the gods have no power there. Their rules are not ours, and even the all-powerful become meak and petty when the rules of reality shift.
With the chaos of magic, layers come and go as the laws of nature see fit. However, with divine power, some layers can be kept open permanently, allowing trade with the other side and adventures on unknown worlds. Layers whose doors have been closed cannot be recalled, as the multiverse is much too chaotic for such (unless one has the relevant domain related to space and/or time). This, of course, counts for the other side, so don’t expect to venture in and out of new worlds without drawing some attention.
The only mortal race to have survived the Apocalypse was humankind. What other races that may have existed before disappeared with the rest of the world. As such, humankind stands as the primordial mortal species.
It is no wonder, then, that many look to humans as a template for other mortal races, and many races may form from humankind. The nature of magic and divine ichor enables mutations to occur in humans, changing them into various other species. This can be willed or just natural phenomena. Thus, elves, dwarves, orcs and other known races may come to be.
Perhaps others still seek to draw inspiration from other parts of nature. That is possible, too. In the post-Apocalypse, the gods can create any sort of race they’d like, humanoid or otherwise. The humans may predate the New Gods, but they are still at their mercy, and can be toyed with as the gods may wish.
ENVIRONMENTAL MANIPULATION Control over weather, landscape, and other physical phenomena in their direct vicinity. Gods whose domains are specifically geared towards a particular field, of course, have increased control over these. All gods have the ability to control elements within their vicinity using only their minds. They may raise rocks and water from the ground, purify or mix materials, extract a particular element out the ground, or compress, melt, ignite or freeze something.
FORM Gods have innate shapeshifting capabilities and can appear in whatever shape or form they wish. Most do tend to have preferred forms, while those more geared towards deception and espionage do not.
All gods also have a True Form: This is their domain(s) incarnate, the god becoming what they represent to all the awe and horror of unfortunate onlookers. What this shape manifests as, is entirely up to the player: A war god can become a bloody battlefield; a merchant god can turn into a mountain of gold and goods; a dream god can take on the shape of everyone’s nightmares simultaneously. Activating one’s True Form is a Major Action, as the widespread implications of a god taking on the form of their domain are most likely literally ground-shaking.
IMMORTALITY Gods are ageless and almost unkillable. They cannot be harmed by mundane weapons or magic. A god's weakness is usually particular to that individual god and a secret hidden with the utmost care and vigilance. If they are to die, it must be either by suicide or by the direct efforts of a very powerful god or a group of gods. Mortal efforts could at best cause superficial harm to a god, and more often have no effect.
PERCEPTION Gods can see in great detail, able to see even in the true darkness of deep space, and can observe aspects such as heat, magnetic fields or souls. They can hear as far as they can see, are able to pinpoint the direction of sounds and are able to simultaneously understand all speakers of a large crowd.
DIVINE HOMES Any deity can create their own, non-euclidean home room in the Divine Realm, tied to the Galbarian layer. This can act as a private retreat or a manner to escape from other gods. These generally cannot be located by other gods unless the god in question allows others to find it, and those gods whose domain involve dimensions or space/time warps may be able to find said planes. (Or: These planes can be visited by anyone, so if one seeks privacy, one must find some way to lock or hide away the opening, either by using powers or artifacts.) These planes are very small, but can be customised as the god wishes it to be. This can be your Tartaros, your Hell, your Elysium, but lite.
Divine homes are separate from layers in that layers aren’t constructed by the gods, whereas divine homes are.
MOVEMENT A god can fly, run at high speeds, swim and breathe under or walk on water. Some gods may have preferences for particular modes of travel, creating vehicles and such, and those with relevant Domains may be better at utilising certain modes than other gods. The form a god takes may also hinder or facilitate travel - light, agile form with wings will be able to fly much faster than a large heavy form without wings. A god cannot teleport, may not gain such an ability, and cannot teleport anything or anyone (exception being for a god with a relevant domain: a god of Gateways should be able to make cool gateways that can lead to anywhere, or a god of Speed should be able to move so fast that it effectively functions like teleportation, or a god of Space should be able to tear through the fabric of Space/move themselves instantaneously through space).
TRAIL AND PRESENCE Each god has a unique essence that leaves a trail wherever they go and a mark on all they create. This trail can only be detected by gods with relevant domains, and may only be concealed by gods with relevant domains. A god with a Domain related to Deception may be better at covering their trail, for instance, while one with a Domain relating to Espionage may be better at detecting such trails.
CREATION A god can create anything following the rules for Major and Minor actions. The nature of these creations will be left up to the narrative, but it should be noted that any proliferating, powerful and space-needing species of life are very likely to be major actions. Below are some examples of what a god can create in terms of life:
A god can create tiny creatures without magical properties, like ants, beetles, mice etc. These can reproduce, survive, and thrive.
They can create unintelligent species of animals or other beings who can reproduce and thrive. These can continue to grow and survive even if the god should be destroyed. This includes magical and non-magical creatures.
They can create intelligent species of animals or other beings who can reproduce and thrive, even if the god should be destroyed (humans, elves, dwarves and whatever else you can think of.).
Can create life. This includes all kinds of flora, fauna, and lesser spirits. Intelligent life may not be produced en masse - it must be done one at a time or allowed to multiply on its own.
Gods are able to create things from nothing and shift them with ease. On a very small scale this does not drain their energy at all, for example, they can create a clump of metal and heat the metal to melt it, they can shape clay and carve stone with their touch, they can cause seeds to grow rapidly by merely focusing on it.
A god may modify existing life-forms using their essence in a manner befitting their Domains. Such modifications typically affect a small proportion of the species’ population.
STRENGTH Wield great martial power and resilience, depending on the god. Most deities make terrifying opponents for all but other deities. Normal weapons are generally ineffective against them, as are low-level magics. They are immensely powerful, capable of lifting objects larger than them, and are unaffected by fatigue. They are able to shrug off mundane threats and perform impressive feats such as smashing large boulders with ease.
COMMUNICATION Can understand all sapient mortal languages and can even communicate with non-sapient creatures or inanimate objects. In terms of long-distance communication, mortals may only communicate with Gods through a specific action or process (usually called ‘Prayer’).
Examples for how to pray to a specific god may include: whispering into a flower in the case of a God of Spring; sacrificing a lamb in the case of a God of Domestication; writing their prayer into a sheet of papyrus doused in jade powder in the case of a God of Archives, etc. Gods may only respond in non-verbal ways such as a gust of wind pointing people in the right direction, a bird that had been flying overhead a starving man dying all of a sudden and falling in front of him, etc. Methods of communication on both sides will vary according to domains.
Gods may not telepathically communicate with other Gods, requiring the creation of a specialised Divine Communication System (i.e. messenger system, such as flying magical talking crows, a God who tapes wings to his shoes, etc.). Telepathy is restricted to gods with relevant domains.
AURA May exude a supernatural aura that inspires, frightens, calms or generally affects nearby life. An aura may have additional effects depending on a god’s Domains and can also be further enhanced by using a Major Action if it affects the world at large.
ACCLIMATISATION There is no place where a deity cannot survive. A god is unharmed by mundane environmental hazards such as extreme temperatures, extreme pressure, poisons, or falling. A god does not require food, air, drink, or sleep to survive. However, extreme environments may still prove difficult to navigate.
DEMIGODS Gods can breed with mortalkind to create demigods. Demigods are hybrids of god and mortal and are automatically granted the Chronicle feat of “Demigod”, which allows them to perform minor miracles relevant to their parent god’s domain. Examples: A demigod of the war god is unmatched on the battlefield; a demigod of the family god is immensely fertile; a demigod of the lightning god can control, well, lightning.
It should be noted that demigods, like heroes, are not immortal by default. Immortality can be achieved in two ways: either a god can grant it or the demigod may achieve it on their own. Demigods often have an easier time reaching out to the gods on account of their lineage, too. While the power to perform miracles cannot be inherited by the demigod’s offspring, anyone who can claim to be descended from a demigod and thereby a god will surely almost naturally be quite popular (or unpopular) with the mundane.
A demigod can ascend and become a true god. The only way to do this, however, is to challenge their parent and absorb their divine ichor for themself. This will mortalise or, at worst, kill the parent god.
The world being as chaotic as it is, new gods can pop into reality at any time, anywhere. The gods may need some time to adjust to life, but they are just as powerful as the others once they come to their senses.
While the copulation between two gods would also result in a new god, this is a very, very rare occurrence (read: only to be used for when new players explicitly want to play as the child of another god/other gods). Normally, divine relations result in divine beasts and monsters of myth. This could manifest as your Fenrir, your Minotaur, what have you.
Quests are a way for gods and mortals to acquire powerful artifacts, titles and even domains by following a narrative. While gods can create artifacts if they like, artifacts acquired through a quest are stronger and better on account of the materials gathered/time invested. Additionally, gods can only acquire new domains by studying that new domain of their intently, which can in many ways be seen as a quest. Heroes seeking to achieve immortality without the explicit aid of gods must do this through a quest as outlined in the “Heroes” section.
There are no fixed requirements for length or plot structure in a given quest, but the player is highly encouraged to create convincing narratives that paint epic journeys and thought-provoking dilemmas.
Magic is a force that operates under the seemingly simple law of change - inevitably, something will change into something else, either with agency or just by chance. While mortals and gods can study this, none of them can truly grasp what exactly makes magic possible and how to predict it. They can only manipulate it and observe the outcome. It is a primal energy of change and in its raw, untouched form it is prone to violently alter whatever it comes into contact with.
Following the apocalypse, these energies can bleed into the world in pockets and rifts, creating fantastical landscapes, weird magic-beasts and chaotic non-euclidean ruins. Now, it's just a normal part of life, like rain or any other phenomenon - the infertile cow can turn up pregnant one day, the silkworms we've been growing can sprout wings for no obvious reasons and fly off, someone sleeping in bed can suddenly become permeable and sink through the ground forever etc.
This energy, otherwise layered neatly in its own dimension or reality (like oxygen, just chilling inertly for all intents and purposes) can after the apocalypse be harnessed and used by mortals to affect the world directly in different ways. This would mean magic is to all intents and purposes, new to Galbar with the apocalypse and birth of our deities, and the following age is the "Rise of Mysticism".
Creatures born after the apocalypse can manipulate magical energy, magical energy can be studied and influenced in different ways, and there are many ways to draw upon it, opening avenues for mortality previously unknown.
Even to the gods, magic is like unknown. While they don't need it for anything specific unless they want to, it is a puzzling force that none of them can truly grasp. They may be able to manipulate it better than any mortal, but they are as baffled by its nature as everyone else.
Mortals can approach it with mysticism, they can apply provable methods, the end result is the same; they enact change on the world. Some applications of magic can be predicted or manipulated according to rules that seem work, producing spells and rituals one can perform for tasks. However these still fail to account for what magic is, many approaches succeed in seemingly contradictory applications of similar components. Provable and testable with outcomes that are reproducible, but understood not more for it. That is not to say magical energy is not dangerous. Beyond being able to create nearly anything (within the arbitrary laws of the universe we decide), magic much like most elements is dangerous to an individual if exposed to it.
General Rules and Regulations
The Golden Rule--Do not godmod/metagame/powerplay. It’s ironic because this is an RP with actual gods as characters; however, there are definitely limits as to the power level of our gods. We’re trying to make a collaborative story rather than host a game meant to be ‘won,’ so please keep that in mind as you write.
The Rule of Fair Warning--Before significantly influencing someone else’s creations, especially if it is going to be in a destructive way, give them some fair warning OOC so that potential objections can be made ahead of time and plans can be shifted. Ideally conflicts between two gods that lead to destruction or harm of one god or its possessions will be written with the consent of both players, but if you think that somebody is being unreasonable, us GMs can intervene.
The Good Summaritan Rule--Somewhere in every post, please attach a hider box containing a short summary of the post’s actions and then add an entry onto the Wiki here . As Divinus RPs have traditionally had some massive posts, this helps greatly when trying to keep track of all that’s been going on and when trying to make sure you didn’t miss any important plot point within some massive post. That being said, please do still try to read all IC posts and not just the summaries.
Example: Your summary should convey the bare minimum of which characters were involved, what major plot points were covered, and which (if any) other peoples' characters you're initiating some sort of action with, and whether, if relevant, a Major Action was spent.
The Bookkeeping Rule--We will be using a wiki to store character and creation sheets, as past experience has demonstrated that RPGuild character tab on this thread won’t be enough space and will get too cluttered. For all creations of significance, please make at least a 1-2 sentence page for them on our wiki. The 0th post on the characters section will contain a link to our wiki; if you need any help figuring out how to use the wiki, by all means feel free to ask.
Clarification: Though the wiki is considered canon, you should still describe your creations IC. Don't simply reference that you've made a creation IC and then make us all go to the wiki article to find out basic details on what the creation does; it's unhealthy to make reading the wiki articles obligatory for one's understanding of what's happening IC.
Leave of Absence--Please give us forewarning on the OOC if circumstances dictate that you will become inactive in the RP for a time. I’m sure we’ve all seen the phenomena of people simply vanishing; it’s frustrating and leaves work where the others have to pick up the narrative pieces. Failure to do so will result in the termination of your god as a result of the chaotic forces of the cosmos.
Sexual Content--Please keep it PG-13. Fade to black, and always remember, the Guild Rules come first and foremost.
The above commandments are most important. Almost every other conduct is to fall under the domain of common sense and the RPGuild rules, with the understanding that our goal is to collaboratively create cool narratives. Be considerate to one another and facilitate storytelling. If there are any concerns or clarifications required, the GMs are always happy to help.
We would like to reiterate that we will be using a wikia (link can be found on the 0th post of the character section) to store and organize all character sheets, rather than the character tab on this RPGuild thread. This is obligatory; however, if you need help figuring out how to work with the wiki, just let us know. If you like, you may still use the character tab to compile links to the various wiki articles for your creations.
With that out of the way, feel free to format your sheet however you like, so long as it clearly contains answers to at least the questions posed by this example sheet below.
As you consider ideas for your character and grapple with what you want to do, We would encourage you to first focus upon what sort of Domain you want to have, and then use that as a foundation to construct a god that makes sense given that dimension.
Beyond the concept for your character, you should also have an idea of what you want your god to do, how your god might change or progress, how they will contribute to the story and how they will interact with other players.
Name: ((To know your god, name your god.))
Domain: ((Here goes the domain of your god, i.e. their theme. We’re talking lightning, fire, music, child birth - whatever you’d like.))
Myth: ((Share a scene from what you imagine the myth of your god to be. Maybe it’s a story of one time the god performed a miracle, maybe it’s an old hermit sharing some scripture on the god’s wisdom, or maybe it’s a scene of the god themself doing something godly.))
Base Form: ((Pictures, descriptions or both are fine. Any specific capability of this form over the others should be described.))
True Form: ((The god’s unshackled form, one where they embody the full and unrefined sum of everything their domain represents. Assuming this form is usually enough to cause widespread damage and break mortal minds. Think fire god becoming a volcano or a dream god taking on the form of every dream everywhere at the same time.))
Musical Theme: ((What’s their jam? Optional.)) ((Lastly, remember to read the OP thoroughly!))
At it's most basic concept, war is conflict and bloody violence. It favors only those who stand victorious over the corpses of their enemies as a testament of strength. Therias embodies the brutal unthinking side of war and draws power from conflict either by inciting it or being apart of such things. Such power makes it easy for him to sense conflict throughout the planes and follow it like a bloodhound. In the end, war is about strength and ruthless violence but it only rewards those who survive and considers desertion as the most grievous of acts. Therias has the power to incite violence and instigate conflicts.
M Y T H
In times of ruin, Out in blood-red skies.
Brimstone falling drowning cries, Rivers of crimson flow.
An end made slow, Beware of the hound.
Your end willingly found, Upon doomsday he approaches.
With him fire encroaches, Beware the burning locus.
That was what the prophecy foretold of the end of the world, that in times of great strife and ruination would bring a hellish beast to wreak chaos and ignite the violence within the hearts of mortalkind. Of a hellhound that scorched the earth as it crumbled around it. It was said that in the end times it's presence would drive men and women to violence, killing their fellow kin in a frenzy before they inevitably perished to the chaos of the apocalypse.
Domain: Death, the domain which oversees the souls departure from the world of the living and its journey along the Path of the Dead. Ekundayo guides all souls to the afterlife where they my reflect and mature before being reborn, a time to contemplate and ponder the meaning of life and their purpose.
The Path of the Dead can be a lonely place where one's sanity can easily shatter, resulting in a soul wandering lost in the void for eternity. Ekundayo leads souls, and offers them direction, showing them the way, and revealing the nature of their lives to them through reflections and echoes of the past. She acts as a teacher, assisting the souls, and offering her presence in their times of need.
Ekundayo knows how to navigate the Path of the Dead, and can walk between the world of the living and the afterlife without losing her way. She protects souls from straying, and from the predations of unnatural things that lurk in the void.
Myth: The Unborn upon the Path of the Dead
"Do not cry."
She would have been a mother, though now her child is lost, dead in the womb before being born into this world. The boy was so little in the arms of his distraught mother, so still and silent. She watched as the mother could not hold back the tears that fell, and wept loudly.
"I will carry him."
She held onto the boy's soul, only a little fragment of light, akin to the mother holding his corpse. A unborn child would have little to say throughout their journey, so She sang softly as She departed the material world and once more walked along the Path of the Dead.
Ekundayo gazed upon the long road ahead, the silvery streams scattered across the sky, grey clouds gently lulling aimlessly, and the white stars shining in the vast void. The Path of the Dead would be lonely without Her presence, and those that traversed it would be lost without Her guidance.
"Do not fear death, little one. I shall keep you company until we reach where you belong."
And so the Goddess continued her journey.
Base Form: A petite pale woman that walks beside mortals along the Path of the Dead, or else simply a face emerging from a feild of fertile flesh and bone, blood dripping from her hungry eyes.
True Form: A towering monstrosity that walks upon six legs, gazing upwards with eyes closed. Its entrails are exposed but the creature is not wounded, as flowers, limbs, and sleeping children grow from its body. All who gaze upon this Its form seek to follow it along the Path of the Dead.
Name: Morwyn Morwyn, Goddess of Witchcraft, is a woman of many faces. Benign, wicked or somewhere inbetween, she teaches Mankind, and by extension, mortals, how to manipulate the universal forces of magic through witchcraft, a form of magic she created. She is benevolent and virtuous at the moment, however, she is also vain beyond belief, and manipulative. The sheer power she wields may over take her heart, one day.
Domain: Witchcraft, the magical power to effect change in the universe through force of will, life force manipulation and emotional energy. Thus Witchcraft is capable of a great many things too extensive to list. However, as mortals are mortals, they cannot match a deity's level of power, regardless of the witch. White Magic, when specialized in, increases a person's moral and ethical character, making them more benevolent and kind. Grey Magic, and yes there is such a thing in Witchcraft here, can be used for various purposes just like Black and White Magic. For example, magic related to animals, plants, and illusions are basically Grey Magic spells. Black Magic, on the other hand, can be carefully manipulated for non-evil related purposes. The same spell that can be used to cripple, maim and torture someone can be used to merely defend an adherent of Black Magic from murder.
Myth: From "The Tome Of All-Seeing" Morwyn is the goddess of affecting change throughout the universe, the world and mortals through the magic of Witchcraft. It was she that has brought change to the world by discovering the One True Magick. That of the Witch. When the world was burning, and Mankind was dying, Morwyn took pity on them and taught them how to survive a rough and uncaring world. She was the first God to discover the Age of Mysticism.
When the people would cry out for safety, Morwyn would hide them in plain sight. When the people would cry out for warmth, she would light mysterious fires to keep them warm. When the people would cry out for food or water, she would manipulate nature it'self, through her force of will, to produce vegetables and fruit, fresh, clear water, or even wine, for them to eat or drink.
Eventually, many, if not all of these followers for Morwyn became witches themselves, both men and women.
However, as she was ever obsessed with power, and knowledge, Morwyn delved deeply into the secrets of the universe through meditation and astral projection. After hours of study, the Goddess found the knowledge she was looking for. Some of us who worship her believe she had discovered the secret of Omniscience. According to them she had learned all things of all the universe, in every universe, of all time, past and present, throughout all eternity beyond time.
Our goddess, mother of magic, learned and understood, briefly, how all magic works. Not just The Craft. It was this knowledge which altered her into The Nine In One.
Now, there is no one of Mankind or of the Gods who knows her secrets, or what she found. According to some, the results of discovering all knowledge throughout every dimension and all time was too much even for her mind, and she fractured into The Nine Gods. The Nine Aspects of her divinity, all manifestations of her will, personality and experiences.
All that is truly known is that through her obsession of knowledge and power, to do good, has driven her mad. However, she still lives. It is said that during the Season of Samhain, she still exists in full. It is during this time that we revere her most.
Domain: Armok represents the concept of civilization. More specifically, the innovations in sociological and technological things form the foundations of civilization itself. Civilization is a self-perpetual entity that will seek to advance itself to grow bigger in complexity to further its state of self-perpetuation. It will explore, expand, exploit, and in some cases, exterminate. The innovations created in science, technology, government, and likewise, will facilitate its growth further and further, increasingly becoming more complex and sophisticated.
Civilization becomes an inherently iterative process. Crude tools created by civilization will be used to fashion better tools. These better tools will then be used to create even refined tools, and these refined tools will be used to create increasingly more sophisticated tools to create ever more precise tools. Every iteration of the tool is a refinement of the last, and every step must be taken and no step skipped. It is a repetition of a process to generate an outcome - the growth and self-perpetuation of civilization.
What power does understanding the very nature of civilization give to Armok? In truth, the God of civilization has become a part of the iterative process. He, or she, can contribute to the refinement of tools, be it government, technology, trade, or actual tools. If civilization needs new building methods, Armok can go through the repetition process of study, testing, observation, and likewise, using existing knowledge built from past knowledge to generate the outcome - a better method of building.
Myth: “I do love guns, especially the big ones,” Armok grins, sitting on an oak chair on a nearby hill. The siege force and their nation, what the God of Civilization calls the ‘Blue Team,’ has managed to figure out the inner-workings of properly creating an advanced siege gun. She is very proud of their achievement, albeit small in the grand scale of things.
“Look at that. A fine piece of metalworking, engineering, and black powder fuckery. The smell of progress,” Armok comments to herself as a series of thunderous cannon shots are heard out in the distance. The defending force, what Armok likes to call the ‘Red Team,’ has their walls, once standing, now crumbling apart.
“Their masonry and military engineering skills might need a bit of a check-up. I might have to take a look into that. Either way, their fault for not quickly picking up the latest advancement.” Armok keeps a mental note for later. Armok’s mercy waxes and wanes all the time. It just all depends on her day.
From out of no-where, a coming force of heavy cavalry comes rushing down on the flanks of the siege force. “So, that’s where all their focus and resources went. A Grand Gendarme, equipped with the finest advancements in plate armors and horse breeding. I am quite curious if that will pay off in the long run. For now, let’s see how effective they are,” Armok becomes engrossed in the bloodshed and violence, which is all a part of the great game of civilization. A term coined by yours truly.
Base Form: Armok has taken a liking to the human female form and prefers to refer to itself as female. This base form has the unorthodox characteristic of deeply blackened skin, extremely smooth and soft skin, and a pair of horns. Unclothed, this body is quite muscular, well-built, and very well-endowed. Of course, Armok doesn't walk naked. For clothing, Armok wears a comfortable set of white silk that fully covers her body. Most noticeably, Armok has her stylistic staff. (Image One & Two)
True Form: Armok encompasses the whole gasp of mortal civilization. It is the unaltered image of its past, present, and future. Armok is the endless conceptual amalgamation of sociological and technological advancements of everything. Armok is civilization. To attempt to condense all that is civilization into a perceivable image is impossible and nightmarish.
Well, I haven't exactly had the best record when it comes to participation in Divinus, though I am tempted to give this version a shot. One because it's far lighter on mechanics than previous incarnations, two because it's in casual and while there could be long posts I also expect there to be plenty of non-novel length scenes as per the section's standards, which honestly helps my motivation to write, and three because if I can manage it I might play a god who will never run out of things to do. That being a trickster god who just exists to fuck with other people's shit, unless you can trick him that is.
But who ever heard of something out tricking the trickster? Preposterous!
Conversely, perhaps a god of contracts might also work, given how everything has a soul. Perhaps one could be allowed to manipulate the sea or elements to a degree and in the circumstances stated within a divine contract. The breakage of which would have severe consequences.
As an example of the contractual domain, which doesn't account for gods or a wide variety of other things such as magic, since I am keeping it limited to power over the natural world for the time being.
Contracts: The domain of Memteus is that of contracts, that is a formal agreement made between two parties and sealed via a binding reagent overseen by an impartial third-party, usually Memteus himself. This is typically blood in the case of most mortals, although depending on what the mortal is making a contract with, further action may be required. Examples include allowing one's flesh to be burned as part of an agreement to have limited control over the element of fire, spilling a drop of blood in a basin of water in order to call upon the power of the sea, and so on. These deals, like all contractual agreements between two beings, come with their own sets of consequences should the supplicating party renege, break, or commit some act that doesn't fall within the purview of the contract itself. At the most basic of levels, the supplicant themselves may be afflicted with some manner of curse or outright killed, though in certain circumstances those close to the supplicant may be harmed or killed and the deal rendered void. Especially if the contract was made to defend or otherwise save a life/lives aside from the supplicant's own. These consequences are stated outright to the supplicant in question before the deal is officially made so that they may be able to properly weigh the benefits and risks such a course of action will provide.
Beauty - Creation is most often inane. Beset by crude designs far too commonplace to behold and mundane to fathom. For that which breaths life most often twists and shapes it into that of forms less than pleasing to any of the senses. These original forms are most often unoriginal. They are broken to the core and pitiful, lacking any sense of true self. It's not their fault of course, for they don't know any better. Thus, these creations must be worked upon, reshaped and altered to be fixed and purged of physical malformations. A task not to be taken lightly. For Wyn seeks to uphold beauty by changing that which isn't, to what it could be. With such help, anything can realize its own magnificence. Whether they want to, or not.
Wyn’s beauty can be wielded as the likes of a scalpel or butcher’s knife, changing the appearances of that which it touches to sights of pure bliss. The scalpel changes blemished skin to ivory. The broken roots of hair to splendor. A shoddy statue to glory. An artwork to a masterful level… Whilst the butcher’s knife rends to a greater design. Appearances and that which is pleasing to the eyes, is powerful imagery and Wyn can change even the simplest creature or thing into a champion of beauty. That which undergoes such alterations is desired by that which is not.
Beauty most often has a price to pay. A fee, a gift, a sacrifice. Wyn can both be a benevolent benefactor or a tyrant depending upon her mood and she will take or give with impunity. One must take great heed in not offending her or else there could be dire consequences. For beauty can be creatively cruel. Satisfying vanity will always be preferable to the sin of ugliness, even if the ugly can't help themselves. If at all there is an occasion that Wyn finds natural beauty, then she would be captivated by it. At the end of the day, beauty can be altered to take many inspiring forms and shapes, but it can only be truly beautiful if Wyn says so. That, in essence, is the nature of Wyn and her beauty.
Beneath musty tombs and moldy pages, you manage to find a survivor’s account of the Great Fall. Date Unknown. Origin Unknown. A quick flip through the pages finds that most of the writing is the makings of madness. Incoherent scribbles, old languages and abstract depictions of creatures that even a vibrant imagination couldn’t conjure. You at last flip to a page that has somewhat legible writing between the scribbles of the damned…
“...It chases us in the night… Night? Is it day? I have lost track since the smoke choked the sky and the clouds rippled with lightning. There is no rain. Just Ash. Why? Why does it chase us still? It ate…” The writing becomes illegible and you skip ahead.
“We are trapped. Turi says she is scared. That she does not want to die. I held her hand and told her everything was going to be okay. As I lied to her, I knew there would be no salvation. The river boils and cannot be crossed. We thought we lost it in the bluffs but even now… In the deep… I hear it. I hear… What do I hear? What beckons me this way or that?”
“It clicked and clacked, salivating with hunger as it looked upon us with a thousand eyes. The women screamed and the men wept, for this was our end. Was it not? But I had been wrong… Salvation did come. From the boiling river emerged the great head of something, hidden in the steam. I heard it spring forth and the thousand eyed-thing scream. I shielded my eyes from the…” More scribbles, forcing you to read on.
“The snake the snake the snake the snake! Ohhhh the snake! How it slithered, how it stretched! How it changed the eyes to gold and the flesh to to to… I-I I I cannot. Cannot! Cannot fathom or derive from this mind of mine the words… The illuminations…! The magnificence! Of he. Of she! I am jealous! So jealous so jealous! They died and I did not? Why is this flesh such agony?! Why?” The writing becomes just a long line until… “Why… I-I am losing myself… I was not meant to see… I cannot remember their faces… Turi… All I see is… The snake and the form the snake and the form the snake and the form! What form what form? What way which did the snake turn into.. Into… This world… Precipice of annihilation... Saved saved saved. Now dull. Dull. Dull? Faded… Grey… Color uncolorful. Why? My… My mind slips away… It should have killed me with that… that… Finality… Instead... These hands that write will do…”
The writing ends with a few more scribbles and a drawing of a massive snake that seemed to change into something… Something beautiful… What was it… What was- You blink and the image returns to that of the snake… Encircling a creature that had no right to be drawn so beautifully. You try to read the pages again but to your horror, it's all just scribbles...
They say it's what's on the inside that matters most and that good looks don't mean everything. That a just character will triumph over any sin and evil. Wyn would disagree. One could have the foulest soul known to mortalkind and yet, as long as they had a pretty face, Wyn wouldn't care what they were composed of or their morals, not unless they offended her. Despite being beautiful, Wyn is quite vain by nature, taking compliments about her looks as the highest form of flattery. She most often wanders around mortal lands in search of a project or praise, if she isn't up to some personal agenda. If not, she can be found at home sculpting or creating great works of art.
Around others she likes putting up a front or facade to lure people into a false perception of herself to obtain that delicious praise. But do be careful not to overstep your bounds for, at the flip of a switch, Wyn is most sinister to such lofty mortals, but more passive to her fellow gods. In fact, if a god were to offend her, she would hold a grudge for years, acting behind the scenes to obtain revenge. For only Beauty knows best.
Wyn can be the most charming of divines, sometimes kind if she wants something or she can be cruel and vindictive. Playing with hearts and minds to ever forward a beautiful world. Mortals, after all, are just broken toys that the gods let toil in ugliness, in need of fixing. While other gods are just inherently flawed creatures that usually make ugly things. All can be changed however, for beauty will endure no matter the form.
Wyn does not restrict herself to one form at all times. She could be a man. A woman. A snake. A butterfly. It matters not what she looks like, only that she is always beautiful. These forms she takes are always clean, always smelling uniquely different to the individual and pleasing to the touch. Her beauty is the only beauty that matters after all and she is its pinnacle in any shape. If she must take a form for a long period of time however, she most often chooses that of frail women with white hair.
Her true form cannot be fathomed by mortal minds. It is everything that will ever be beautiful, that is beautiful and that ever was beautiful. It pleases all the senses beyond euphoria. Color beyond color, form beyond form, shape beyond shape… All forming the only pinnacle of a beautiful existence- Wyn. To bare witness to such a sight would be only to invoke a madness so profound that nothing ever makes sense ever again. The world loses all reason of reality. What is, is not and what is not, is. No mortal mind can stand it, for nothing else matters anymore but Wyn.
I could work more on the myth section, but until the motivation to write a whole ass story strikes, this is what you get.
Domain Contracts: The domain of Memteus is that of contracts, that is a formal agreement made between two parties and sealed via a binding reagent overseen by an impartial third-party, usually Memteus himself. This is typically blood in the case of most mortals, although depending on what the mortal is making a contract with, further action may be required. Examples include allowing one's flesh to be burned as part of an agreement to have limited control over the element of fire, spilling a drop of blood in a basin of water in order to call upon the power of the sea, and so on. These deals, like all contractual agreements between two beings, come with their own sets of consequences should the supplicating party renege, break, or commit some act that doesn't fall within the purview of the contract itself. At the most basic of levels, the supplicant themselves may be afflicted with some manner of curse or outright killed, though in certain circumstances those close to the supplicant may be harmed or killed and the deal rendered void. Especially if the contract was made to defend or otherwise save a life/lives aside from the supplicant's own. These consequences are stated outright to the supplicant in question before the deal is officially made so that they may be able to properly weigh the benefits and risks such a course of action will provide.
Base Form Memteus base form, or the one he wears while walking the material plane at any rate, is that of an elderly man. One whose hair has already begun to recede from the crown of his head and whose hands have become boney and worn from age. In this guise he will often clad himself in garments reminiscent to those worn by a wandering monk or saint, with the only unusual feature to be found being a massive leather-bound book, for it is within this book that his contracts are made.
True Form To say that Memteus has a true form is to do him a disservice, for in his basest of forms he embodies the very concept of contracts and contractual agreements. Thus one can never truly grasp his actual appearance, as there is simply nothing in existence to grasp - be it in the material or divine realms - save for an idea that defines what a contract or agreement is. If anything, one could describe Memteus in this state as being more of a presence, though even that is inaccurate to a huge degree.
Myth It is said that Memteus will often wander the world looking for those in need so that he may bind them within the iron will of a contract. Why he does this exactly is not known to mortalkind, and the only explanation the god himself has been willing to give is that, "Someone somewhere will always be in need of a contract."
Domain: God of Mortals - Born during the heart of the apocalypse, Lonn is the human condition made manifest. The domain of mortals focuses not in the creation of races or their works but instead every aspect of what makes a sapient, intelligent life-form truly be “alive”. Within his domain exists the components of personal growth, the range of sapient emotions, aspirations for greater things, the capacity to enact conflict, and the ultimate mortality related to such a mode of existence. Lonn revels in the love in the hearts of men in equal measure to their hate and professes adoration for their passions, big and small, no matter the target or their aims.
The Domain of Mortals thus commands the very thing that makes people unique, empowering Lonn to encourage both the greatest and worst excesses within Mortals to complete both great and terrible things. Lonn is the fire in the hearts of men that makes them reach for better lives and the lightning in their minds that makes them dash aside the lives of others.
The Red Lance of Lonn
Ardal ald Ardalan sat brooding within the shadowed confines of his urdu, his court and guards having been sent away in his most recent bout of fury. Outside the burlap barrier of the war-tent a camp grew out in all directions, filled with hundreds if not thousands of warriors. It was a host the likes of which the land had not seen in the age of fire yet, despite all that Ardal had done, those blasted walls refused to even shudder.
A hundred yards from his camp stood those blasted parapets that kept secured the fortress of Wold. Impenetrable Walls of Wold, they called them.
“Blasted, bedeviled Woldians…”
Ardal had laid siege to that damned stronghold for the better part of a year now and still it held, well supplied from years of fattening themselves on the realms abroad and secure from the raids that harried most settled folk. The Age of Fire had brought low so many peoples but there, in their bunkers and hard points, the Woldians had found for themselves a keep made by the ancients. The warlord had paid every price he could to hire engineers, those who had knowledge of physic and iron, to build machines to bring them down and yet still they stood, mocking him.
Ardal was pulled from his restlessness by the shining of a light, a bright red glow that slowly grew till the entirety of his urdu burned bright with that crimson incandescence. Ardal drew his saber, a fanged thing that looked vicious in his hand, and held it towards the light threateningly; Ardal had not earned his place through weakness and he had not been bowed by monsters before.
“Speak! Who dares scurry when Ardal the Unbowed stands alone!”
No figure appeared, instead the light coalescing into a single point then extending outward into a line of crackling arterial dread. There was malice within that baleful light but benevolence as well, warming the part of Ardal that had driven him so long ago to take up the sword in the first place.
“Ardal,” shuddered a voice, rippling out from the rod of red in a piercing static shock to the Warlod’s senses, “Truly, you are the best of them.”
Ardal stared blank eyed for a moment, blinking as he churned through the mountain of information provided in but a single sentence. The thing knew of him, that much was certain, and its dread visage formed into that of a lance seemed to reflect that intuition with ecstatic motion. It rippled and bit at the air around it, remaining completely unmoving beyond the unnerving motion of its changing shape. What exactly this thing was, Ardal did not know, but if it knew him and spoke highly of him, who was he to speak ill of it? His weapon lowered, if only slightly, as it continued to speak.
“You deserve this, Ardal; those preening eidolons a top their platinum towers. Did they struggle as you did in this Age of Fire? Did they earn what they have or simply sit upon the works of greater men; YOUR ancestors, at that! And now they have the gall to laugh at your efforts? Such rank unfortunates, the whole lot of them; damned Woldian wolves, I say.”
Ardal again stood unmoving, decades of struggle and effort and reward having taught him patience more than anything. He dare not speak a word as the entity whispered sweet nothings at him, doubting severely its intentions as it seemed to agree with his every thought and desire. If someone you have never met agrees with everything you say, something is amiss, after all.
“Your worry is unnecessary, good Ardal,” echoed the voice, the cloth walls of the urdu rippling at its insistence, “For I am a generous benefactor who offers much and asks little. Your goals are my goals, good Ardal, and my means will be your ends. Take up my lance, wise King; with it, all you rightly deserve is but a toss away.”
The red light receded inwards toward the lance, though the rod still rippled and gnashed at the air, sparking like lightning waxing crimson. Now an aura of cardinal brightness roared out about a meter in diameter around the spear, the center of the deadly spike seeming to calm as if offering itself as a grip for the warlord. With hands barely trembling as Ardal did his best to contain his emotions, the warrior-who-would-be-king slowly stepped forward as a voice in his ear began to cheer him on. Voices from his childhood, from his early days, from his rise, supporters and foes alike, all telling him this is what he deserved, what he had earned. Fingers reached forth to cautiously brushed against the spear and in an instant it was in his closed fist, as if jumping to his hand between the blink of an eye and forcing his digits closed upon it.
Power surged through Ardal’s veins, red arterial lightning flashing across every artery visible against his skin. His eyes widened, the man feeling greater than he ever had before. An energy coursed in his heart and drove him to walk from the hall, no longer feeling the anxiety of the siege nor the exhaustion of his long conflicts. Several guards locked to attention as he strode out, seemingly unaware of what had occurred within the urdu. With surprised fascination they stared at the baleful weapon held within their master’s hand and with ferocious intent, Ardal stared down the wood-packed road that led straight towards the no-man’s land between the camp and the walls.
Before Ardal stood his greatest enemy, the very walls of the Woldians that kept them safe and let them cast sneers and insults towards him. Rage rolled through his body and with it came the ecstasy of certainty, a confidence in his actions held only by a man ablaze. With all the fury and passion in his heart, Ardal stepped into a throwing stance and hurled the lance with all his strength towards Wold.
The lightning bolt lance launched down the path, its carmine radiance lighting the path as it travelled with the pace of the Age of Fire itself. A thunder crack shattered the silence of the night as the dread weapon skipped across the landscape and reached the wall faster than eyes could keep track. As the spike struck the wall it passed through, leaving a scorch mark in its space, before slamming into the heart of the city.
A tower of light rose from the center of the city followed by scorching heat and the deafening roar of a god let free. One second passed and the city of Wold exploded, the briefest screams of terror snuffed out in the blast. The column of red flame and lightning climbed well into the heavens, pushing the clouds of the night out in all directions and making, for an instance, the moon surrender to the light of day.
All around Ardal his men lay flattened, slowly rising back to observe the destruction wrought by their lord. Ardal himself shook, eyes wide, jaw dropped low. Before him, where once the Impenetrable Walls of Wold stood, now sat a crater. All he had hated, had wanted, was gone and in its place the ultimate expression of mankind’s willingness to act. As ash began to fall, Ardal’s awe struck visage drew back into the slightest smile; a generous benefactor indeed.
Base Form: Lonn presents himself in a number of forms as relevant to his current scheme or project, but primarily dances between three major figures that are actively recognizable by peoples familiar with the deity. Though depictions may vary culturally, he will regularly take up these forms to interact with mortals and gods alike.
Lonn the Fulminator, a crimson bolt of light that dances light a lightning bolt through the sky. Though capable of holding a vaguely humanoid shape, this is a facsimile of such a body and nothing more. It is in this form that he interacts with mortals in the most supportive way, empowering them to action in the most literal of senses. It is from this form in particular that Lonn’s nicknames relating to lightning and the color red are derived.
Lonn the Transient, where Lonn inhabits the form of a human man. The human facsimile of Lonn is not noticeably tall, skinny, or even attractive. A shock of red hair, well within the normal range of human hair color, is common but not always present and is often changed to blend in with peoples with less common hair colors. What is common throughout is a set of perfect teeth, pristine to the point of being noticeably uncanny.
Lonn the Destroyer, where Lonn occupies the form of a human-esque skeleton. The material of Lonn’s structure appears reminiscent of the old ruins of mankind and his internals seem lit by reddish power. He occupies this form as a beacon of violence, promoting riotous behavior, the annihilation of one’s enemies, and a perpetual willingness to do anything to complete one’s goals. It is this skeleton icon to which soldiers pray, assassins swear oaths upon, and Warlords secretly whisper their deepest desires towards in the dark of night.
True Form: Though Lonn’s truest form can, in many ways, be prone to change as any person might change throughout their life, the two forms most regularly seen in such dire times are that of the Throne and the Annihilation.
The Throne of Want, Lonn’s pure representation of mortal desires, needs, and capacity for greatness, appears as a carven throne with a skeletal figure sunken within. Upon presenting such an icon of overwhelming mortal experience, the exact size and vastness of the Throne becomes unbearable. The skeletal figure sunken within represents the nature of mortals, ruling upon a throne of their own making but trapped within that greatness like a tomb. The dead-eyed stare of the Red God bares down on those who observe it, seeing their thoughts pour from the icon of mortality as sprawling streams of thoughts carven into reality.
The Annihilation of Awe, the rarest of such presented identities, represents the capacity for mortals to bring about their own end. A massive red explosion, filled with crimson fire and arterial lightning, thunders outward from a single point consuming everything in its path. Although brought about by a deity, the Annihilation of All harkens to the world shattering magics that sundered the world in their numerous, baleful glows during the height of the apocalypse. Within the explosive maelstrom, for those capable of peering within, the rising image of a furious skull, grinning and grimacing in equal measure.
Domain Description: Celvanya is a divine embodiment of war. In general, Celvanya's approach to war is two-fold: In one school of thought it is imperative to consider the strategic value of a battle, and if the resources gained and lost over the course of it will be acceptable enough to engage with the enemy instead of withdrawing. Each battle should be approached with a thorough plan that takes into account the terrain, weather, and the equipment and training of the enemy. Battles should be won as quickly as possible in order to avoid excessively taxing the resources of the army and the morale of the soldiers present, and key locations are better kept intact so that they may be re-used to the benefit of allies.
In the other school of thought, it is sometimes best to throw out the notion of planning and instead act in an unpredictable and unconventional manner. To constantly act according to a rigid set of rules and plans for battle is to become readable and predictable, and when you have become readable and predictable, you have effectively lost the ability to make plans that would result in victory. Thus, to Celvanya, war is a delicate balancing act where one must be ready to shift their approach at any given moment.
In a particular temple on an uncertain day, an old man is helped into a temple by a cloaked figure that aids his troubled walking with a hand upon his arm. The old man is brought to sit at one of the many benches in the temple, and he quietly wheezes a thanks to the stranger before beginning to pray. As he finishes praying, he looks up towards a prominent statue within the room. The being depicted in the statue is close to being human, save for a pair of long ears that adorn the side of her head. It's not clear if the old man can see the statue or not due to the grey coating his eyes, but the dedicated effort to look towards it catches the attention of the stranger who helped him into the temple.
Turning their own eyes to the statue, the stranger looks back at the old man before asking a simple question. "Someone important to you?"
The old man nods before clearing his throat. His voice is barely above a whisper when he begins to speak. "Aye... The statue of the goddess..." The man coughs a bit, and the stranger lays a hand upon his shoulder to help keep him stable. Once the coughing stops, the man begins to speak again. His voice is a bit clearer now. "The goddess Celvanya... One of the saviors of the world... I saw her once... In the flesh..."
The man pauses for a moment to catch his breath and think back to that day. As he does, he smiles slightly before beginning to speak again. "It was during a time of great turmoil... The land was vanishing... We were all doomed. Until she came... I was running, my wife behind me. She tripped... And was lost..." The old man pauses once more, this time to touch at a small locket that hangs from his neck. After a few moments he continues to speak. "I tried to help her, but the end was moving so fast... She was swallowed by it the moment I stopped to look... I moved to run again but the grief gave me pause. I turned to look towards the nothing... Waiting for the end. But then she came..."
The old man stops again, looking once more towards the statue. A tear comes to his eye as he remembers what he saw, and a few moments later he speaks once more. "I saw her for only a moment, clad in armor of gold and shining like the sun... It was so bright... So magnificent... I had to look away, but I could hear her efforts around me. A fierce whirling of weapons and battle... I lay helpless... Thinking that my end would come... I passed out... But when I came to she was gone, the nothing that had previously taken the land was gone... My wife did not return, but I lived..."
The old man paused once again, tears flowing down his face. Taking a moment to compose himself, he wiped himself clean with the dirty shirt that he wore. Looking up to the statue again, the old man finished his story. "I owe her my life... I come here every day and offer a prayer of thanks that I lived so that I can remember my wife... I can only hope she hears them..."
The stranger nodded before speaking again. "A fine thing to live for. Thank you for the story. I must be going now. Farewell." Rising from the bench, the stranger turned to leave. After a small moment of hesitation she placed an assuring hand upon the shoulder of the old man before whispering something into his ear. "I do."
The old man gasped and turned to look, but Celvanya was already gone.
Celvanya, being a goddess of war, has a form that suits this purpose. To start, Celvanya is approximately seven feet tall, dwarfing a majority of the mortals she meets. Celvayna's red hair is left mostly loose, save for a pair of side braids that are then woven together in a single braid and tucked behind her right ear. Complementing this hair is a pair of blue eyes. Celvanya's face has a few freckles, and there is a small scar on her right cheek from her time fighting against the apocalypse. Notably, Celvayna's face is also tattooed. Upon her forehead and beneath her bottom lip are a pair of intricate designs that hold no distinct meaning but are maintained by Celvanya regardless.
Celvanya's body as a whole is well toned and athletic in nature. She still possesses a notable amount of feminine curvature due to her divine nature allowing her to simply sculpt her form as she chooses rather than having to exercise as mortals do.
For clothing, Celvanya wears a green cape that is decorated with golden designs of branches at the shoulders and edges. This cape is bound with a brooch depicting a sword and an eye. This clasp represents Celvanya's self imposed duty of watching out for recurring elements of the apocalypse, and fighting them as they appear. Upon her torso, Celvanya wears a cream colored long sleeve shirt with the ends of the sleeves tucked into a pair of dark brown hardened leather bracers. Over this Celvanya wears a light brown hardened leather breastplate, though the protection it offers is frankly minimal compared to her innate defenses as a goddess.
Around her stomach is a red haramaki. Over this is a thick leather belt that holds a simple leather pouch. This pouch is a little larger than a softball, and typically only contains items that Celvanya has picked up in her travels. Currently, it contains nothing.
After that is a collection of strings of green and white, along with some beads and a ring of metal all woven together intricately. They serve no purpose other than looking nice. Finally, Celvanya wears a pair of dark brown loose cloth pants that are tied at the lower calves and ankles with wound leather. Celvanya doesn't wear any kind of footwear, as the speeds she can move at in combat would likely shred any she tried to wear.
Celvanya's true form abandons the mundane clothing that she wears in an effort to hide the true nature of her divinity. In this form Celvanya wears a suit of golden armor with blue accents. This suit of armor clings to her form and accents her feminine nature, going against the grain of more practical armor as, like always, it provides little actual protection that Celvanya's divine nature doesn't already provide. In addition, she has a red waist-cape to preserve her modesty. Her hair has changed from a red color to a brilliant blonde color, and has increased in length dramatically, now coming to her ankles rather than her mid-back. In addition, Celvanya's height has increased from seven feet tall to ten feet tall. Celvanya's eyes have also changed from their normal blue color to a deep red color, and her ears are considerably shorter, though still pointed. In addition, when assuming this form Celvanya dissolves her sword into nothingness, and instead flings masterwork weapons at extreme speeds with little more than a thought rather than engaging in direct combat. Not to say that she can't do so, but her preference lies elsewhere in this form.
Additionally, Celvanya shines with a brilliant light while in this form, usually compared to that of the sun. Upon assuming this form, the ground around Celvanya is flattened, smoothed, and hardened into a distinct circular battle arena roughly 20 feet in diameter. These persist as a permanent alteration to the landscape even after Celvanya leaves or resumes her normal form.
Celvanya's personal sword and primary weapon. When not activated The Everblade is an oddly proportioned dagger with a thick blade made of what appears to be diamond. The blade design is similar to a cinquedea, though it has a handle and crossguard fit more for a hand and a half sword. What's odd is that for a blade so short the scabbard it's placed in is the length of a knightly sword.
The reason for this discrepancy is revealed when Celvanya activates the sword by pouring her anger into it. In most cases, a glowing blue blade manifests. However when Celvanya's anger is particularly potent a brilliant golden blade will manifest with brightness comparable to a sun. A god would most likely only be mildly inconvenienced by this brightness, but those lacking in divine ability would likely find it quite difficult to look at.
The weapon is indestructible as long as Celvanya exists, and only Celvanya can activate it. If she ever ceases to be, the sword will cease to be as well.
This staff is, quite frankly, nothing that special. In her crusade against the apocalypse, Celvanya came upon a tree that had been mostly consumed by the advancing nothingness that was erasing Galbar. Picking up what was left of it, she twisted it into the shape of a staff and carried it with her as a reminder of what she was fighting for.
Celvanya sometimes uses it as a focus for some divine act, but it's usually just a decoration upon her back and little more. Like The Everblade, this staff has been made indestructible, but unlike The Everblade it will persist should Celvanya cease to be.
Alright, added an actual myth of sorts to Xem, but don't expect much in the way of backstory. He literally just appeared, some mortals think it's because of the Apocalypse but it isn't, and he's at odds with most of the gods save those with domains that are at least somewhat related to his. Those being death and war.
Anyway, aside from some minor edits to prose that bothered me, Xem's and Memteus sheets are pretty much done. Looking back on it I might just play Xem since it's the least amount of mental work, but Memteus is there just in case.
Myth: Once, there once was an old village that was haunted by a hateful ghost. Known in life as Quinn Evermore, she was once a happy and carefree soul. Before, she was framed by an ex-lover for murder and was executed by the village folk. Instead of passing on, Quinn's soul lingered in the village and terrorized everyone in it. The villagers tried various ways to calm her but, nothing work and Quinn started to hurt people. So the villagers left, leaving Quinn alone and for years after. Her ghost could still be seen haunting the village. Attacking any those who chose to enter the village.
This changed when an old man came to the village despite warning about Quinn's ghost. Only a lonely man stood by, watching for when the old man would be running back after getting an attack. It is during this the man saw a bright blue light appeared in the village and shoot up into the sky before disappearing. Then the old man walked peacefully out of the village, and the man rushed to him. Asking, what do he so. The old man simply replied, "I helped Quinn to move on and sent her to where she needs to be." The man was shocked that someone was able to pacify the ghost where others had failed. The man asked who the old man was. The old man smirked and said, "I am simply an old man doing my duty." Bewildered, the man asked what that duty was. The old man replied, "My duty to see that all souls make it towards their afterlives as I did with her."
"And I must be going," the old man said. The man wanting more answers from the old man but with the blinking of his eyes. The old man was gone, and the man would find out later who the old man really was. A god and the man would never forget this encounter or how he helped Quinn to move on. He would never forget.