RPG
Introduction
Overview: Two apprentices have been sent to learn magic from the Crone of Eula. Two more than she asked for. A new lord has inherited the province after his father's death, including little Eula and its ornery witch. Everyone wants something from the Crone: will she have anything left when they find what they seek?
Setting
Damense: A feudal country whose history books hold fairy tales and whose fairy tales recount the lives of their ancestors. Their descendants may one day rival their fame, but there will never be a new fairy tale.
Phantazein Era: For the last hundred years, no new fairy tales have been made. The natural magic has largely vanished. Where it exists, its rarity makes it a thing nobles hunt down in sport. The Academy insists Happily Ever After still exists, but with a price tag.
The Academy: An institute that teaches magic to the children of the extremely affluent. They also take scholarship students of remarkable natural ability. Their curriculum emphasizes the use of wands and sigils to perform magic, asserting that anyone who can pronounce the spells and flick their wrist just right can become a prestigious sorcerer. The Academy further serves as a library, warehousing the grimoires and tomes of their alumni as well as records of The Great Era, during which fairy godmothers ensured a child’s bright future and spoiled milk was blamed on ill-humored pixies. The construction of the Academy signaled the end of that era, as the fantastical creatures that had so long dominated the landscape disappeared with the increase of humans able to manipulate magic to serve mankind. The council at the Academy monitors and polices the use of magic. As magic is relied on heavily by merchants and lords, the sanction of the Academy holds equal weight with the verdict of the high king.
Academy History: The Academy used to be a library of independent study for humans with innate power, but a law passed approximately 140 years ago forced the Academy to accept a prince who had no talent. It was a political move to explain why the fairy godmothers refused to acknowledge him, because if he had magic, he wouldn't need their blessing. [Though it isn't public knowledge, the reason the fairy godmothers didn't want the task of building a happily ever after for the prince was because he was a spoiled brat. Someone forgot to bless him with a kind heart at his birth. They couldn't explain their actions without implicating themselves.] The prince had to command magic. With scholars under pressure to make it true, to force magic to obey someone, it was inevitable that they'd find a way. If it had been done once, it could be done again, and suddenly many nobles wanted the same for their children. Sorcerers, wizards, cunning women and wise men did not foresee the implications, believing the nobles' motive was fashion, not power. The Academy changed the way humans interacted with magic. By establishing that anyone could learn magic, natural magic lost its place as a sacred gift. The magic of a unicorn horn was no longer sought, but harvested. Profit and power. Anything that was not human and bore magic was objectified. Ironically, fairy godmothers were the exception, retaining the respect and awe they held centuries ago. As the Academy became more deeply embroiled in the machinations of the royal court, its own prestige soared. Though no one acknowledges the correlation, the rise of the Academy bears a strongly inverse relationship with the survival of natural magic. A century past marks the peak of the Academy's ascension, from which it has never come down.
Meandis: A province of Damense, consisting of seemingly unending rolling hills and valleys. The folk of the province owe fealty to their Lord, who acts as ruling steward of the land and judge of disputes. Traditionally, each village pays a tithe, rather than individuals paying taxes. Also, according to tradition, each village has a cunning woman or wise man, elders who have invaluable knowledge and craft, to service those who cannot afford to hire a sorcerer.
Eula: A small village crowning a small hill. Villagers typically have several children who sleep in the loft of a thatched croft, a cow or goat for milk that is let out in the village commons during the day and brought inside the house at night, a few chickens, maybe a pig, and a vegetable garden sizable enough to feed the family. Those who are not farmers hold trades such as the smith, the wheelwright, and the weaver. A few have trades outside of the village but a house in town, such as the miller. In the vale surrounding the village are pastures and farmers’ fields, and a lazy meandering river too shallow for boats. The village is within sight of the lord’s manor and estate, an hour’s ride by horse. Eula is far from the larger town and cities, and thus far from the Academy and its influence. Its isolation has made it a throwback to the Great Era, and the villagers are rightfully superstitious, since a lot of that old world enchantment has retreated into their forest. To appease the less savory creatures and promote the blessing of benevolent fairy, most villagers leave small offerings on their doorstep before retreating indoors for the night, and do not venture about after dark.
Characters
Crone of Eula: Known as the Crone because she is the epitome of the haggard old crone living alone in the woods. To call a woman who works magic a witch is an insult, but the Crone encourages it: she doesn’t hide the fact her magic is not always white. The Academy does not approve of her as she never trained in their halls and her practice is unorthodox, and she reciprocates their disdain, refusing to take their aptitude tests and ignoring their frosty letters refusing to acknowledge her as a master of the craft. As if they could intimidate a veteran like her. Unfortunately, they haven’t been able to convince the village that she is not as competent as their specially trained sorcerers. The villagers depend on her to heal their sick, solve their problems and rescue their children from naughty fairies, and as she served as a midwife for the majority of their births, she is thought of as a cranky grandmother to everyone. It is not uncommon for young girls to go to her in the dead of night for love potions, and to return the next week for herbs to erase their youthful indiscretions. But as she is truly a witch, her methods are not always palatable and the prices are not measured in gold.
Tinker: He sells whatever he can pile into, onto or attach to his wagon. He can fix anything, even if it’s not broken yet. More than one gentleman has found his wife buying more than pots and pans from Tinker, but Tinker is very good at leaving town right before they find out. He probably has children in every village, but none he’d admit to. He’s been accused of being scrupleless, a cad and a charlatan and found guilty of the charge. But he treats the Crone with such respect and care, you’d think she was his own mother.
The Oak Lord: The Crone may live in the enchanted woods, but the fairy warlock known as the Oak Lord is who makes the forest so deadly. He is fond of wagers, but equally fond of trickery. All manner of creatures serve him, from the lowly toad to the elusive white hart, and from beautiful fey to soul-stealing fiends. The baying of his hounds keeps the villagers safely tucked in their beds at night, and as long as they pay him his due, no one is spirited away. The Crone deals with him on the village’s behalf, and he promised her none of his minions would harm any who were on the path to her cottage.
Characters Needed
(1) Lord: The old lord was on his sickbed for nearly five years before passing away. The crone would visit and ask if he wanted her help, and each time he denied. There is a rumor in the village they were old sweethearts, star crossed lovers that never had a chance because of differences in status. Both parties denied the rumor. But there was clearly something between them. Since his passing, his son has taken over, and the crone does not visit the manor anymore. In the will, along with the estate and title, the son received a letter from his father, stating the old lord’s fear that the crone had poisoned him with her magic, causing his long suffering death. As he had been told by his personal advisor that it was against her nature to curse a man and was wholly without evidence, he never voiced his suspicions. The task he put to his son was to discover the truth and avenge him if necessary.
(1/1) Position Open
(2) Apprentices: As the crone is quite old and has no one to inherit her duties, the old lord had written in his will to the Academy, requesting they send whoever they deem has the highest potential to wheedle into the position of her successor. The Academy plans to milk this opportunity to steal her grimoire. The apprentice who is able to give the Academy what they want has been promised the granting of a wish. The crone has been informed she should expect two new apprentices to arrive by evening. She has a reputation for being extremely uncooperative with both the Academy and local authority, and the apprentices have been warned by the Academy that she has never willingly agreed to teach magic. Her apprentices can be innately gifted with magic or longtime students of the Academy. They received a map with her house marked near the village of Eula, but no transportation was arranged for, so the apprentices must make it safely there on their own. As she lives in a dangerous enchanted forest, that itself could prove a challenge.
(2/2) Positions Open
(3) Familiars: The crone has sent for Tinker, the jack of all trades she likes to buy familiars from, to outfit her apprentices. Two of her own familiars were killed by the old lord, in what he termed hunting accidents, and for the past five years, she went without, believing even with the lord bedridden, there would be another ‘hunting accident’. A familiar could be a trapped spirit, a mythical being, a creature, or an intelligent animal, who receives benefits in exchange for service. Familiars are contractually bound to serve, like a genie or slave, but the benefits are very individual. A fairy might receive something like milk and honey, while a spirit might be given a physical form. The crone will be haggling directly with the familiars, not with Tinker, to determine what benefits will be due to the familiars in exchange for service.
Ella, played by LittlexVamp: a forest fairy of small stature and big troublemaking genes
Aislin, played by Little Luna: a wood nymph on the run and looking for safety amongst friends
Krrlik, played by Mr. Nice Guy: a winged cat with plenty of disdain to spare for noble lords
Additional Cast: Once 4 of the 6 positions are filled or reserved, I’ll start considering other characters.
Character Profile Skeleton for the Lord and Apprentices:
Name (including titles, nicknames and aliases):
Sex:
Physical Description:
Picture (optional, NOT ANIME):
Personality:
Abridged Biography:
Character Profile Skeleton for Familiars
Name, if applicable:
Sex, if applicable:
What It Is (spirit, fairy, mythical being, animal, etc.) and Specify:
Physical Description:
Picture (optional, NOT ANIME):
Personality:
Familiar Experience:
Abridged Biography:
Setting
Damense: A feudal country whose history books hold fairy tales and whose fairy tales recount the lives of their ancestors. Their descendants may one day rival their fame, but there will never be a new fairy tale.
Phantazein Era: For the last hundred years, no new fairy tales have been made. The natural magic has largely vanished. Where it exists, its rarity makes it a thing nobles hunt down in sport. The Academy insists Happily Ever After still exists, but with a price tag.
The Academy: An institute that teaches magic to the children of the extremely affluent. They also take scholarship students of remarkable natural ability. Their curriculum emphasizes the use of wands and sigils to perform magic, asserting that anyone who can pronounce the spells and flick their wrist just right can become a prestigious sorcerer. The Academy further serves as a library, warehousing the grimoires and tomes of their alumni as well as records of The Great Era, during which fairy godmothers ensured a child’s bright future and spoiled milk was blamed on ill-humored pixies. The construction of the Academy signaled the end of that era, as the fantastical creatures that had so long dominated the landscape disappeared with the increase of humans able to manipulate magic to serve mankind. The council at the Academy monitors and polices the use of magic. As magic is relied on heavily by merchants and lords, the sanction of the Academy holds equal weight with the verdict of the high king.
Academy History: The Academy used to be a library of independent study for humans with innate power, but a law passed approximately 140 years ago forced the Academy to accept a prince who had no talent. It was a political move to explain why the fairy godmothers refused to acknowledge him, because if he had magic, he wouldn't need their blessing. [Though it isn't public knowledge, the reason the fairy godmothers didn't want the task of building a happily ever after for the prince was because he was a spoiled brat. Someone forgot to bless him with a kind heart at his birth. They couldn't explain their actions without implicating themselves.] The prince had to command magic. With scholars under pressure to make it true, to force magic to obey someone, it was inevitable that they'd find a way. If it had been done once, it could be done again, and suddenly many nobles wanted the same for their children. Sorcerers, wizards, cunning women and wise men did not foresee the implications, believing the nobles' motive was fashion, not power. The Academy changed the way humans interacted with magic. By establishing that anyone could learn magic, natural magic lost its place as a sacred gift. The magic of a unicorn horn was no longer sought, but harvested. Profit and power. Anything that was not human and bore magic was objectified. Ironically, fairy godmothers were the exception, retaining the respect and awe they held centuries ago. As the Academy became more deeply embroiled in the machinations of the royal court, its own prestige soared. Though no one acknowledges the correlation, the rise of the Academy bears a strongly inverse relationship with the survival of natural magic. A century past marks the peak of the Academy's ascension, from which it has never come down.
Meandis: A province of Damense, consisting of seemingly unending rolling hills and valleys. The folk of the province owe fealty to their Lord, who acts as ruling steward of the land and judge of disputes. Traditionally, each village pays a tithe, rather than individuals paying taxes. Also, according to tradition, each village has a cunning woman or wise man, elders who have invaluable knowledge and craft, to service those who cannot afford to hire a sorcerer.
Eula: A small village crowning a small hill. Villagers typically have several children who sleep in the loft of a thatched croft, a cow or goat for milk that is let out in the village commons during the day and brought inside the house at night, a few chickens, maybe a pig, and a vegetable garden sizable enough to feed the family. Those who are not farmers hold trades such as the smith, the wheelwright, and the weaver. A few have trades outside of the village but a house in town, such as the miller. In the vale surrounding the village are pastures and farmers’ fields, and a lazy meandering river too shallow for boats. The village is within sight of the lord’s manor and estate, an hour’s ride by horse. Eula is far from the larger town and cities, and thus far from the Academy and its influence. Its isolation has made it a throwback to the Great Era, and the villagers are rightfully superstitious, since a lot of that old world enchantment has retreated into their forest. To appease the less savory creatures and promote the blessing of benevolent fairy, most villagers leave small offerings on their doorstep before retreating indoors for the night, and do not venture about after dark.
Characters
Crone of Eula: Known as the Crone because she is the epitome of the haggard old crone living alone in the woods. To call a woman who works magic a witch is an insult, but the Crone encourages it: she doesn’t hide the fact her magic is not always white. The Academy does not approve of her as she never trained in their halls and her practice is unorthodox, and she reciprocates their disdain, refusing to take their aptitude tests and ignoring their frosty letters refusing to acknowledge her as a master of the craft. As if they could intimidate a veteran like her. Unfortunately, they haven’t been able to convince the village that she is not as competent as their specially trained sorcerers. The villagers depend on her to heal their sick, solve their problems and rescue their children from naughty fairies, and as she served as a midwife for the majority of their births, she is thought of as a cranky grandmother to everyone. It is not uncommon for young girls to go to her in the dead of night for love potions, and to return the next week for herbs to erase their youthful indiscretions. But as she is truly a witch, her methods are not always palatable and the prices are not measured in gold.
Tinker: He sells whatever he can pile into, onto or attach to his wagon. He can fix anything, even if it’s not broken yet. More than one gentleman has found his wife buying more than pots and pans from Tinker, but Tinker is very good at leaving town right before they find out. He probably has children in every village, but none he’d admit to. He’s been accused of being scrupleless, a cad and a charlatan and found guilty of the charge. But he treats the Crone with such respect and care, you’d think she was his own mother.
The Oak Lord: The Crone may live in the enchanted woods, but the fairy warlock known as the Oak Lord is who makes the forest so deadly. He is fond of wagers, but equally fond of trickery. All manner of creatures serve him, from the lowly toad to the elusive white hart, and from beautiful fey to soul-stealing fiends. The baying of his hounds keeps the villagers safely tucked in their beds at night, and as long as they pay him his due, no one is spirited away. The Crone deals with him on the village’s behalf, and he promised her none of his minions would harm any who were on the path to her cottage.
Characters Needed
(1) Lord: The old lord was on his sickbed for nearly five years before passing away. The crone would visit and ask if he wanted her help, and each time he denied. There is a rumor in the village they were old sweethearts, star crossed lovers that never had a chance because of differences in status. Both parties denied the rumor. But there was clearly something between them. Since his passing, his son has taken over, and the crone does not visit the manor anymore. In the will, along with the estate and title, the son received a letter from his father, stating the old lord’s fear that the crone had poisoned him with her magic, causing his long suffering death. As he had been told by his personal advisor that it was against her nature to curse a man and was wholly without evidence, he never voiced his suspicions. The task he put to his son was to discover the truth and avenge him if necessary.
(1/1) Position Open
(2) Apprentices: As the crone is quite old and has no one to inherit her duties, the old lord had written in his will to the Academy, requesting they send whoever they deem has the highest potential to wheedle into the position of her successor. The Academy plans to milk this opportunity to steal her grimoire. The apprentice who is able to give the Academy what they want has been promised the granting of a wish. The crone has been informed she should expect two new apprentices to arrive by evening. She has a reputation for being extremely uncooperative with both the Academy and local authority, and the apprentices have been warned by the Academy that she has never willingly agreed to teach magic. Her apprentices can be innately gifted with magic or longtime students of the Academy. They received a map with her house marked near the village of Eula, but no transportation was arranged for, so the apprentices must make it safely there on their own. As she lives in a dangerous enchanted forest, that itself could prove a challenge.
(2/2) Positions Open
(3) Familiars: The crone has sent for Tinker, the jack of all trades she likes to buy familiars from, to outfit her apprentices. Two of her own familiars were killed by the old lord, in what he termed hunting accidents, and for the past five years, she went without, believing even with the lord bedridden, there would be another ‘hunting accident’. A familiar could be a trapped spirit, a mythical being, a creature, or an intelligent animal, who receives benefits in exchange for service. Familiars are contractually bound to serve, like a genie or slave, but the benefits are very individual. A fairy might receive something like milk and honey, while a spirit might be given a physical form. The crone will be haggling directly with the familiars, not with Tinker, to determine what benefits will be due to the familiars in exchange for service.
Ella, played by LittlexVamp: a forest fairy of small stature and big troublemaking genes
Aislin, played by Little Luna: a wood nymph on the run and looking for safety amongst friends
Krrlik, played by Mr. Nice Guy: a winged cat with plenty of disdain to spare for noble lords
Additional Cast: Once 4 of the 6 positions are filled or reserved, I’ll start considering other characters.
Character Profile Skeleton for the Lord and Apprentices:
Name (including titles, nicknames and aliases):
Sex:
Physical Description:
Picture (optional, NOT ANIME):
Personality:
Abridged Biography:
Character Profile Skeleton for Familiars
Name, if applicable:
Sex, if applicable:
What It Is (spirit, fairy, mythical being, animal, etc.) and Specify:
Physical Description:
Picture (optional, NOT ANIME):
Personality:
Familiar Experience:
Abridged Biography:
Rules
THE PLOT IS OUT OF MY HANDS NOW
First and foremost, I'm not going to operate this roleplay like a railroad: I don't care if the train goes off the tracks and we end up following different plots and storylines than what was given at the beginning. If I wanted so much control over the plot, I'd be writing on fictionpress.com, not RolePlayGateway. I don't consider it the function of my characters to solo-drive the plot, nor do I consider it solely my domain: if you want plot progress, you have to be active and your character(s) dynamic. Some of the most fun I've had involved elaborate plots which were immediately derailed as soon as they left the OOC, where they proceeded to go gallivanting across the countryside, never to return. You are the driving force. 'Kay? Moving on.
BE THERE
Do your part. Active players determine how long a roleplay lasts and its success. If you are going on vacation, forewarning is a must. If your computer or internet is down or you are experiencing an emergency which will temporarily or permanently remove you from the game, please try to get the message to someone in the roleplay: this may involve going the extra mile to an internet cafe, a library, a school or a friend's house to obtain a few minutes on the net. If I know the absence is temporary, I'll do my best to ensure you have a character when you return. Otherwise, your character gets killed off. It's a dangerous world, and Eula is no sanctuary from death.
CHARACTER LIMITS
I have three(3) characters I will actively use and a legion of NPCs. I'm not a hypocrite. You can have multiple characters. HOWEVER. Each character you plan to actively play needs to have a character profile and the profile needs to be approved. Approving a character profile allows me to address any inconsistencies with the setting, and does not reflect my opinion of the players. If I think you are taking on more than you can handle or neglecting your character(s), I will talk to you about it, but I won't restrict anyone to a character limit.
GOOD BEHAVIOR and PLAYER ETIQUETTE
Everyone has rules against godmodding. I think gods can be characters, but some have interpreted godmodding as a rule against godly characters. Let me clarify this: godmodding is tyrannical moderating, an action of the player, not the character. It means one of the players is being naughty by 1) controlling another player's character, 2) negating interaction between characters to make their own character flawless, omniscient or omnipotent, and/or 3) altering fixtures of the setting. The only player who should have that type of god-like control in a roleplay game is the roleplay's creator or admin. I consider wielding that control to be in bad taste, unless it is to resolve a conflict, such as killing off a character after the player has left in order to free other characters to resume action. If you think anyone, including myself, is guilty of godmodding, bring it up to me privately, not in the OOC. I don't want drama on the OOC.
CHARACTER CREATION (AKA What You Need To Accomplish To Get Your Character Approved)
A character should have a character profile, including the minimum of information as required by the character profile skeletons provided on the roleplay main page.
A character should be flawed, neither possessing omniscience or omnipotence.
A character should have a past, and should be a reflection of that past through action, personality, and appearance.
A character should be a reflection of his/her environment and a creature of the setting.
First and foremost, I'm not going to operate this roleplay like a railroad: I don't care if the train goes off the tracks and we end up following different plots and storylines than what was given at the beginning. If I wanted so much control over the plot, I'd be writing on fictionpress.com, not RolePlayGateway. I don't consider it the function of my characters to solo-drive the plot, nor do I consider it solely my domain: if you want plot progress, you have to be active and your character(s) dynamic. Some of the most fun I've had involved elaborate plots which were immediately derailed as soon as they left the OOC, where they proceeded to go gallivanting across the countryside, never to return. You are the driving force. 'Kay? Moving on.
BE THERE
Do your part. Active players determine how long a roleplay lasts and its success. If you are going on vacation, forewarning is a must. If your computer or internet is down or you are experiencing an emergency which will temporarily or permanently remove you from the game, please try to get the message to someone in the roleplay: this may involve going the extra mile to an internet cafe, a library, a school or a friend's house to obtain a few minutes on the net. If I know the absence is temporary, I'll do my best to ensure you have a character when you return. Otherwise, your character gets killed off. It's a dangerous world, and Eula is no sanctuary from death.
CHARACTER LIMITS
I have three(3) characters I will actively use and a legion of NPCs. I'm not a hypocrite. You can have multiple characters. HOWEVER. Each character you plan to actively play needs to have a character profile and the profile needs to be approved. Approving a character profile allows me to address any inconsistencies with the setting, and does not reflect my opinion of the players. If I think you are taking on more than you can handle or neglecting your character(s), I will talk to you about it, but I won't restrict anyone to a character limit.
GOOD BEHAVIOR and PLAYER ETIQUETTE
Everyone has rules against godmodding. I think gods can be characters, but some have interpreted godmodding as a rule against godly characters. Let me clarify this: godmodding is tyrannical moderating, an action of the player, not the character. It means one of the players is being naughty by 1) controlling another player's character, 2) negating interaction between characters to make their own character flawless, omniscient or omnipotent, and/or 3) altering fixtures of the setting. The only player who should have that type of god-like control in a roleplay game is the roleplay's creator or admin. I consider wielding that control to be in bad taste, unless it is to resolve a conflict, such as killing off a character after the player has left in order to free other characters to resume action. If you think anyone, including myself, is guilty of godmodding, bring it up to me privately, not in the OOC. I don't want drama on the OOC.
CHARACTER CREATION (AKA What You Need To Accomplish To Get Your Character Approved)
A character should have a character profile, including the minimum of information as required by the character profile skeletons provided on the roleplay main page.
A character should be flawed, neither possessing omniscience or omnipotence.
A character should have a past, and should be a reflection of that past through action, personality, and appearance.
A character should be a reflection of his/her environment and a creature of the setting.
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Crone, Witch of Eula played by MilkHoney
If she looks a witch, plays the part, and carries the name, surely she is a witch.
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Crone of Eula: Out Of Character (OOC)
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Crone of Eula
by MilkHoney on Tue May 24, 2011 5:49 am
- 9 Replies
- 171 Views
- Last post by Shavnia_Velmount
on Thu Jul 14, 2011 10:25 pm
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Crone of Eula
Most recent OOC posts in Crone of Eula
Re: [OOC] Crone of Eula
I was going to ask about your character, Shavnia. There are already three familiars, and then you were added... so are you an apprentice now? Or are there four familiars?
I don't think we can start without apprentices. :/
I don't think we can start without apprentices. :/
Re: [OOC] Crone of Eula
Turns out I was able to submit the familiar late last night. Hope you like. :)
Re: [OOC] Crone of Eula
I would like to reserve a familiar position if there is one available perhaps one of that either a lycanthrope or a wolf
Re: [OOC] Crone of Eula
Hello. I'd like to reserve a familiar. I'm hoping to have the application in sometime tomorrow, possibly tonight if I'm ambitious enough.
Re: [OOC] Crone of Eula
Hi I would also like to reserve a spot for an apprentice and/ or a familiar. Is this possible?
Re: [OOC] Crone of Eula
Hello there!
Would it be possible to reserve an apprentice?
That'd be great, thanks. (:
-Kk
Would it be possible to reserve an apprentice?
That'd be great, thanks. (:
-Kk
Re: [OOC] Crone of Eula
Hey I was wondering, could I make a Phoenix Familiar and if so could I get advice for the contract terms
[OOC] Crone of Eula
This is the OOC for the roleplay "Crone of Eula"
Welcome. Please don't get lost. But if you are, click the handy link, shown above. It will get you somewhere else. Maybe even where you were trying to go.
Welcome. Please don't get lost. But if you are, click the handy link, shown above. It will get you somewhere else. Maybe even where you were trying to go.
