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towerofanimus2013-11-22 02:17 pm
seventhsong) wrote in towerofanimus2013-11-22 02:17 pm
Entry tags:
In Which Things Happen
Who: Lorelei seventhsong, Anyone
What: Roaming, and later monster hunting
Where: Various floors!
Summary: Unable to come to grips with one of his isofons being missing, and being unable to even know what the future holds, Lorelei sets out to find something to distract himself with.
Warnings: Standard Tower Warnings apply. Gratuitous monster violence on floor 64.
There were only so many floors that would block Lorelei's ability to sense his isofons, and he'd scoured them all. All the ones he had access to at any rate, and it had taken a few weeks to do. But determination ... hadn't paid off. The little gravestones had meant nothing to him and still meant nothing, but not being able to find his missing other-self meant a lot.
something's missing, something's wrong with me/him/us
Before the Tower, nothing had ever occurred without him being aware it would happen. There was a comforting certainty in always knowing, always remembering what would happen and when and where. It eliminated all doubt; nothing was unexpected, nothing was a surprise. Lorelei hadn't ever hesitated because there was no reason to ever second-guess. Things would proceed as forseen.
Here they didn't.
Lorelei didn't see any of this coming.
It seemed the Tower found ways to make its captives suffer, when just monsters, physical injury and death didn't work. The effort to shake off the relentless impression of terrible loss and uncertainty meant further wandering. He knows Luke is gone.. one of them, anyway. It doesn't stop him from continuing his search, if only for something to do with himself.
[Floor 92]
The pyramid-floor wasn't one that shut off one's powers and thus would have hid his isofon from his senses, but Lorelei's there anyway. There's other things to poke and prod at, to try to decipher. It was a good enough distraction from the other bits of strangeness in the Tower. That the entire place is surprisingly well lit is just a boon to his explorations, studying statues and heiroglyphs (and then attempting to carve his own into the wall with the thinnest bead of glowing golden light, in the flowing, spiralling script of Auldrant), and the occasional monster passing through.
The monsters are easy enough to find anyway, dead by some sort of bladed weapon. He's conserving his power for later; the sword will do til then. It makes for an easy trail to follow, at the least.
[Floor 82]
A masquerade that provides its own masks is a completely new experience. He would have left sooner, but there wasn't a soul here he knew (were they monsters? illusions?), and the mask was a pretty thing of crimson and gold and feathers. It's a good place to linger for at least a little while, and admire the brilliantly colored and expensive dresses and suits others wore. Anonymity has its.. benefits, it seems.
[Floor 28]
Once more finding himself on the floor full of instruments that somehow play themselves, Lorelei ... doesn't admit he's hoping to find a familiar face. But finding himself alone for the moment, it's only a matter of time before all those instruments are put to use.
The Seventh Aggregate's control over sound is perfectly flawless. Though he settles at the organ and delicately picks out a melody on it, it's the manipulation of raw sound that turns one instrument playing into a symphony with no origin, two songs at once, woven neatly into each other so much as to be nearly indistinguishable. The song played on the organ might be beautiful, but it's also painful to listen to. It calls to the empty places in the mind and heart, places left hollow with friends missing and loved ones dead. The other, played on no instrument at all, is a constant and relentless aria of bright, happy, hopeful notes. Music shouldn't evoke memory so easily, but it does, even when such memories may be at odds with each other.
He'll be at this for a while.
[Floor 64]
By the time Lorelei ventures into the desert, it's after hours and most sane people are in the dorms. But he's here for a purpose, by the markers he leaves to find his way back: markers set a good hundred or two meters away from each other, a good three meters tall and thin and seemingly composed of glass. They're a visible enough path back to the stairs, if one looks. One of the thin obelisks even bears a sign.
[Monster baiting taking place. Be cautious.]
Lorelei's further out yet, waiting in the sand, partly hidden by sand dunes. There are monsters here dead, and blood in the sand - not all of it theirs. He was terribly rusty with his swordsmanship and needed the practice without relying on hyperresonance to fight - which means patiently luring in monsters to attack and kill and nearly get killed by, over and over. How he's luring them in is audible from a distance, a cruel thing to those who aren't even monsters:
It sounds as if there's a child out here, sobbing and terrified, among the shiftless sands. There is no child, it's only manipulated sound, and it draws in monsters like blood draws in sharks. Approaching to see what's going on may mean tangling with some of the creatures Lorelei's baiting in, and chances are good he's luring in far more than he's going to be able to handle anyway.
This could go poorly.
seventhsong, AnyoneWhat: Roaming, and later monster hunting
Where: Various floors!
Summary: Unable to come to grips with one of his isofons being missing, and being unable to even know what the future holds, Lorelei sets out to find something to distract himself with.
Warnings: Standard Tower Warnings apply. Gratuitous monster violence on floor 64.
There were only so many floors that would block Lorelei's ability to sense his isofons, and he'd scoured them all. All the ones he had access to at any rate, and it had taken a few weeks to do. But determination ... hadn't paid off. The little gravestones had meant nothing to him and still meant nothing, but not being able to find his missing other-self meant a lot.
something's missing, something's wrong with me/him/us
Before the Tower, nothing had ever occurred without him being aware it would happen. There was a comforting certainty in always knowing, always remembering what would happen and when and where. It eliminated all doubt; nothing was unexpected, nothing was a surprise. Lorelei hadn't ever hesitated because there was no reason to ever second-guess. Things would proceed as forseen.
Here they didn't.
Lorelei didn't see any of this coming.
It seemed the Tower found ways to make its captives suffer, when just monsters, physical injury and death didn't work. The effort to shake off the relentless impression of terrible loss and uncertainty meant further wandering. He knows Luke is gone.. one of them, anyway. It doesn't stop him from continuing his search, if only for something to do with himself.
[Floor 92]
The pyramid-floor wasn't one that shut off one's powers and thus would have hid his isofon from his senses, but Lorelei's there anyway. There's other things to poke and prod at, to try to decipher. It was a good enough distraction from the other bits of strangeness in the Tower. That the entire place is surprisingly well lit is just a boon to his explorations, studying statues and heiroglyphs (and then attempting to carve his own into the wall with the thinnest bead of glowing golden light, in the flowing, spiralling script of Auldrant), and the occasional monster passing through.
The monsters are easy enough to find anyway, dead by some sort of bladed weapon. He's conserving his power for later; the sword will do til then. It makes for an easy trail to follow, at the least.
[Floor 82]
A masquerade that provides its own masks is a completely new experience. He would have left sooner, but there wasn't a soul here he knew (were they monsters? illusions?), and the mask was a pretty thing of crimson and gold and feathers. It's a good place to linger for at least a little while, and admire the brilliantly colored and expensive dresses and suits others wore. Anonymity has its.. benefits, it seems.
[Floor 28]
Once more finding himself on the floor full of instruments that somehow play themselves, Lorelei ... doesn't admit he's hoping to find a familiar face. But finding himself alone for the moment, it's only a matter of time before all those instruments are put to use.
The Seventh Aggregate's control over sound is perfectly flawless. Though he settles at the organ and delicately picks out a melody on it, it's the manipulation of raw sound that turns one instrument playing into a symphony with no origin, two songs at once, woven neatly into each other so much as to be nearly indistinguishable. The song played on the organ might be beautiful, but it's also painful to listen to. It calls to the empty places in the mind and heart, places left hollow with friends missing and loved ones dead. The other, played on no instrument at all, is a constant and relentless aria of bright, happy, hopeful notes. Music shouldn't evoke memory so easily, but it does, even when such memories may be at odds with each other.
He'll be at this for a while.
[Floor 64]
By the time Lorelei ventures into the desert, it's after hours and most sane people are in the dorms. But he's here for a purpose, by the markers he leaves to find his way back: markers set a good hundred or two meters away from each other, a good three meters tall and thin and seemingly composed of glass. They're a visible enough path back to the stairs, if one looks. One of the thin obelisks even bears a sign.
[Monster baiting taking place. Be cautious.]
Lorelei's further out yet, waiting in the sand, partly hidden by sand dunes. There are monsters here dead, and blood in the sand - not all of it theirs. He was terribly rusty with his swordsmanship and needed the practice without relying on hyperresonance to fight - which means patiently luring in monsters to attack and kill and nearly get killed by, over and over. How he's luring them in is audible from a distance, a cruel thing to those who aren't even monsters:
It sounds as if there's a child out here, sobbing and terrified, among the shiftless sands. There is no child, it's only manipulated sound, and it draws in monsters like blood draws in sharks. Approaching to see what's going on may mean tangling with some of the creatures Lorelei's baiting in, and chances are good he's luring in far more than he's going to be able to handle anyway.
This could go poorly.
It's okay.
He shrugs a little bit. "I'm much older than I look."
There's no use in hiding it here - and it's not like he's unique in that quality here anyway.
no subject
He's used to dealing with beings a fraction of his age! If this one is more on his scale of lifespan, then that.. would be the seventh, total, he's ever encountered. "And which instruments have you learned beyond this one?"
no subject
It has a lot of flexibility in terms of tone, after all.
no subject
Lorelei's game for that question. "The piano is a wonderful thing. I favor the violin and variances of guitar myself, for portability."
no subject