The fires of war have spread through the Kishar system, burning for longer than anyone alive can remember.
Colossal fleshcrafted machines of war, pygmalions, are the hands by which the system is torn to pieces. With no apparent weaknesses besides the pilot inside of them, pygmalions provide incredible power at horrific cost.
From the tumult, a third front emerged. The dynasties of Kishar united, rising from the ashes of an apocalyptic catastrophe into an Empyrean Court and laying claim to the heritage of humanity. This marked the beginning of the Eternal Century.
With the Divine Solis Imperium and the Kreuzhafen Union of Autonomous Colonies showing no signs of breaking, the war could continue forever, a rapturous feast of blood on a scale incomprehensible to any single person.
Those with interests in ending the war grow tired. The time for drastic action draws near, dangling like a sword over the heads of those who would be kings. It is only a matter of time before the stalemate will be broken.
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Kalmen-style slaughterer shield, painted in colours of Clan Örlun, whose supporters ended the Vedron Empire's hold over the east, and whose branch families remain influential within the commonwealth to this day.
A common narrative states that the first patriarch of the Örluns was live-born from parentage of terror birds, clawing his way from the beast-mother's womb, blood staining his hair in tones of rusty earth. In this way, red-haired folk came to the south-easterly Kalmenia.
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"The Railroad Company's ordered a sanitary cull. Something about the influenza, everything with wings short of the bugs and bats, even if it's not yours, so long as you can get at it. It's a half-starling to the head if you can bring a bushel to the survey, and if the birders general are in good spirits, you can pawn them for the each."
"Ash, love. Odds you can get your brother's rifle?"
Travellers along the Mergiel all seem to find their way to Vrámstad, a sleepy town built first around the river, second around an ancient stonework bridge.
Older than the First Vedron Empire, there is no time in recorded history where the bridge at Vrám Crossing did not stand.
and with that, both NOMAD/VIRTUE and OMEN/CONSTANCE have received album art updates to bring them a bit more into scheme with each other and make it clearer they're part of one series
if you preferred the original art, as always, you can still find that as a bonus included with all downloads. thank you for your continued support
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Album Art Update: NOMAD/VIRTUE - Soundtrack for Mechanised Roleplaying
The album art for NOMAD/VIRTUE has been updated! the new art is inspired by the sort of messy prints you'd see on the boxes of old wargames, with some redrawing and collaging to refresh the sketch of Fortuna that was used on the original cover.
of course, the original album art is still available if you prefer it. I've included it as a bonus file inside the album.
so, conversational tone here because this is just rin writing something out
official releases in conspiracy with Ri47 Heavy Industries have been a bit slow because of some personal health issues compounded by the burnout that comes from taking up the necessary additional work to compensate for taking time to physically recover
I'm going to be reworking some album art for older Ri47 releases. in particular, the ttrpg soundtracks (to bring them into one united design scheme) and probably redoing Bloodwarm, since as fun as a photo of my wrist is, I've gotten multiple people assuming it's porn (which is funny, but also an increasingly rough liability)
look forward to that soon, and if you like the old album art, either download it ahead of time or manually swap it with the included legacy art
brief notes on written Sonts, a script from the Saltreave that does not appear directly though it is at times referenced, compiled from a few bluesky posts
Sonts (written out by non-speakers as Sontisien/Sontisch/Sontsa etc) primarily makes use of a vertical script a la Ogham, or more specifically Scholastic Ogham, though it borrows more from Manchu when it comes to character differentiation and punctuation
one notable trait of Sonts is that, when spoken, names are distinctly gendered through a slight mutation in pronunciation at the last syllable. this is entirely absent in writing, as the space where this accenting would normally be indicated is occupied by the tail that finalises a name, which is the same tail that you would normally use to finalise a column of text at fullest stop, equivalent to a paragraph break
in spoken Sonts, indicating name gender is polite (for example, Mahnédahnse for masculine and Mahnédahnsé for a feminine name) but using a terminating tail is proper in writing, and so refusing to do this is roughly equivalent to leaving someone's name uncapitalised. it's so improper that it comes off as a sign of illiteracy before it even registers as a rude gesture in most cases
this rule is so intuitive to speakers of Sonts that they rarely notice themselves doing it out loud, and in written form, the average Sonts-reader would probably not even think to explain this self-evident rule unless they were specifically educated to teach it
while most non-name nouns are also gendered, this is a consistent feature in written Sonts, as it's somewhat improper to end a sentence on a noun. strictly speaking, it's proper to give an adjective the verb of its attached noun, but the grammatical genders as applied to adjectives have taken on some connotations of their own, and so a few exist as exceptions to this, acting as distinct words. accordingly, this can be employed as a poetic device
there are a few grammatical genders in Sonts, though of the five that are commonly used[1], three avoid this orthographic stumble by being indicated at the start of a word. in the somewhat unusual case that one of these finds its way to the start of a column, where the name would otherwise be written with an initial character, modern Sonts orthography prefers that a (relatively, in scope of centuries) recently-emerged ligature above the name be substituted, to preserve clarity in reading
while horizontal Sonts does exist by necessity for compatibility with foreign ledgers, particularly those of the oft-contacted Vedrons, it is not widely used domestically and, eschewing initial and terminal characters for ease of foreign reading, does tend to preserve non-contextual indicators of gender in names. this falls roughly in line with the rarity of unisex naming in Vedron cultures, though it's somewhat more common in those along the shared sea
in contrast to this, it's not uncommon to see Vedron forms of Sonts names in the Sonts-speaking territories that were once occupied by Greater Vedronia, where the language was disfavoured in official documents
[1]: the five genders, applied to as inflection to nouns including names and to adjectives though rarely to verbs, approximate to <neutral youth/feminine>, <default-feminine elder to the speaker>, <default-masculine elder to the speaker>, <default-masculine-but-not-always owner-that-belongs-to-the-owned (think heir)>, <baby, but in the sense of an animal or raw material, not a person>, and the mistaking of the later three for a consistent part of a noun has resulted in some curious loans into Vedron. a few names even have permanent ké- prefixing baked into them with a conflicting inflection on the final syllable because of this
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this is one of those lore posts that warrants the disclaimer that it's subject to change and tidying up over time, especially because it's a "second-pass" explanation, or in other words a chatlog where I was describing something that I had written down much more matter-of-factly in my personal notes
all to say, temper expectations accordingly
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There are three similar yet materially distinct metals that are called silver in the broad sense: silufarun, lódúsenfur, and eunlōd[1]
This is not a distinction made in most regions, possibly because they don't stop it from being useful as silver in a non-magickal context, and even among silversmiths, the finer differences in them are largely lost on those who didn't grow up in either the Kalmeniçans or the more westerly regions of the Meri Sont[2] where the distinction of three cardinal silvers was also independently made
Common to all silver is its apparent rejection of ambient grain, both linear and warped, which can lead magical traditions which focus on fields and territory as means of casting to overlook its high conductivity with grain delivered through engraving and bloodchannels, classifying it among the mundane metals[3], and often denying it any particular magical significance
Silufarun is the silver of the still earth, that which is drawn up from the stone and burns to softness when held at a candle, and so it is generally associated with the cold. Silufarun is the closest of the three silvers to real world silver, and accordingly, it's also the most (relatively speaking) common of the cardinal silverstones
The other silvers only appear where silufarun already is. It can be found all over the world, and so it is seen as "the oldest" of the three silvers and is called sleeping stone in the religious traditions of the northern Kalmeniçan stonefaiths, of particular significance to the adherents of the Midwinter Soul, Çìkandr
Lódúsenfur is the silver of the spinning sea, but never still water, which is brought out by the stirring of tides, the rushing of rivers, and the falling rain. Lódúsenfur has the curious property of "floating" in moving water, regardless of its apparent weight, and following the motion of that water wherever that might take it, before sinking to the bottom of wherever it comes to rest
If left still for too long, lódúsenfur sinks deep into the soil, only ceasing when it comes into contact with silufarun. Because of this, panning silufarun can reveal the presence of lódúsenfur, if you know what to look for and which motions are required
Lódúsenfur is the "youngest" of the three silvers, most often understood to be in a purely emotional sense or else a youth of the spirit, and in some cases has been associated with the condition of mania. To the coastal stonefaiths, it's the swimming stone, and in the Meri Sont, it's the sailing stone. It's not exceptionally rare, but because of the process required to identify it, it proves difficult to get any meaningful amount of it together in pure form
Eunlōd is the silver of the gasping heart, visually distinct from the other silvers when polished for having a visual offset in its reflections that is said to create the illusion of a glassy "crystal" layer between the silver and the observer. This effect is only visible in cases where the eunlōd is extremely pure[4]
Meri Sont sailing lore holds that, when eunlōd is warmed gently in the palms, but no further, it shifts slightly away from the land of the dead, which is known to be north of all other places. In pure form, it does not burn at a candle
Eunlōd is said to be ageless, and while Kalmeniçan stonefaiths acknowledge its existence in abstract, it was never present in the Kalmeniçans, and so was only said to exist as the third silver, hence the metal proper only having a Sontisien name, loaned out to elsewhere
In both the Kalmeniçans and the Sont, eunlōd is the shattering stone, more mundanely infamous for forming fault-veins in Sontisien silverwork, and perhaps explaining the original intentions in extracting it from larger hauls of silufarun
In Mergielka, especially to the Praxics, eunlōd takes on a modern importance as one of the several necessary components for the production and refining of orphicot volatile, the flameless powder used in all varieties of magical arquebuses
Elsewhere, it is silver.
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[1]: There is no word for the third silver as a material in any of the Kalmeniçan regional languages because it is not present as an element in those regions. It is acknowledged to exist, as a third cardinal, but only theologically
[2]: Though knowledge of the cardinal silvers is also present in the Vhél, which is to say the south-easternmost regions of the Sont that were more culturally connected with the Old Vedrons, it isn't quite as widespread.
[3]: This is a trait silver shares with iron, though conventional wisdom does more often account for the fact that rusted iron readily becomes grain-conductive.
[4] Eunlōd mirrors were, for a time, a fad among wealthy Sontisiens, though it was said that the majority of mirrors produced were simple forgeries produced by painting over a normal silufarun mirror with the waxy blood of a candlelamb heated to clarity, which would dry into a cool and transparent sheen. Warming over a counterfeit mirror would produce a vile, fishy scent, and so it is unlikely that such an easily detectable method saw widespread use.