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Post by Sin the Keeper on Apr 5, 2010 12:07:36 GMT 12
Name:Skaldir Age:20 Gender:male Appearance: Weapons: God and Power: Bragi. Bragi grants Skaldir the power to read and use runes, he also allows Skaldir's music to be heard over the sounds of battle, rallying his troops and boosting morale and as they say music soothes the savage beast. Bragi's last gift to Skaldir is to move through battle, like the flow of his own poetry. However even without a practical combat power he still fights, Ullr one of the gods of loyalty smiles upon this act, granting Skaldir to use his Mandolin as a bow that shoots arrows at bullet speed and force. Ullr also being the god of shields, grants his clothes and Mandolin to be as solid as the strongest shield. Iðunn,Bragi's, wife also grants him eternal youth. Describe your Dragon: No, but he wears the skull of a small dragon and used some of the bones in his robes, on them he etched some runes, making them super flame retardant.
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Post by Sin the Keeper on Apr 22, 2010 8:48:09 GMT 12
Name:Ethan Corrol Age:17 Gender:Male Appearance: Power: Manipulate Kinetic energy. History: Lived in Shiloh all his life, his parents moved their to get away from the city, wanting to raise their child away from the city hub and the bad influences. His father was a mechanic and is mother a small insurance agent. He worked closely with his father from the year of ten, and he understands a good deal about automobiles, carpentry, and a ok amount of knowledge of electricity( like electronics) and very little about plumbing. His whole family where hunters, the males at least, so he started shooting at ten. He was a good shot with rifles an shotguns, but could use more practice with a bow. His soul and fighting techniques, where tempered by bullies, since he was in second grade. He learned to fight, because he had to. He did this with experimenting, sparring with friends, books, and the internet. He also loves fire...a lot. Personality: HA! Good one... phew you had me for a second. Other:May or may not enjoy something to "drink".
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Post by Sin the Keeper on May 18, 2010 13:30:18 GMT 12
The expression of humanity spans both ages past and inevitably for eons to come, from the distant, mystic mountains of China to the all too familiar homelands of the Americas, whether it is in paintings or tapestries, books or movies, no one can resist the imaginative urge to describe that which cannot described, to define the indefinable. Among the cultural works, plays and musicals add flavor and emotion to these simple lessons of life that only literature and the arts can provide. So how does one go about teaching these aspects of life and unyielding characteristics of the human soul? How does one capture the minds of thousands and impregnate the hearts of the savage populace? It is actually quite simple; the world is a whirling maelstrom of motivation, too see through the debris of each gritty piece of information and really attain an insight into the core is what our intellectual sub consciousnesses yearns to do. Yet although very few are able to execute this undying compulsion, fortunately there are small majorities who attain an almost legendary existence by providing the tools for enlightenment. To the dismay of those poor souls who witness the atrocities of the human race some condemned individuals can truly witness at least a small piece of that intrinsic core of the maelstrom imbedded in all people. Although there is not enough time to delve into all the publications of history, a brief overview of some could give readers a taste of some of the greatest articulations of history. The darker the place, the brighter a person’s ideas become, and no darker a place can be found then in pre World War II Berlin, the small Russian town of Anetevka under the control of the Tsar, New York during the soulfully uniting age of ragtime, these seemingly godless creations of the human kind are the womb of some the most exalted works of literature Broadway has birthed and the path to the infamous soul of humanity. But, what truly makes these plays timeless classics of the stage is their relevance in both history and current day, and their ability to give people a taste of the raw emotion and feeling of being in this position, the point where a person stops thinking about what he or she has to do that day or if they have paid the bills already and starts to really connect with the characters and explore the world presented to them is the point at which the play becomes more than just a show or something to do to pass the time and transcends into the real meaning of literature. “The Fiddler on the Roof” is the provocative and thought-provoking tale of age old theme of man’s inhumanity towards man and the unpredictable chaotic nature of life despite man’s feeble attempts to control it. Like many plays on Broadway, “the Fiddler on the Roof” was inspired by a book “Tevye and his Daughters” or “Tevye the Milkman”, which was in turn (like many books) inspired by real world events taking place in 1905 Tsarist Russia. At this transient and fearful time in Russia, Tsar Nicholas II was in power, and at war both home and abroad, preceding this phantasmagoric period of pogroms or forced evacuation of Jews from their long-standing village centers there had been a large international scuffle between Japan and Russian and numerous rebellions plotted against the Tsar (despite semi-popular public opinion). This simultaneous stress of death from the failing war and dissention within Nicholas’s even most trusted circles forced the Last Tsar of Russia to demonstrate his power and authority over matters in all aspects of civilian life, these examples of the sheer might of the word of the Tsar shocked Jews and other small disorganized and less popular groups of people into subservient second class citizen roles in society which allowed him to easily control the masses through manipulation of hatred and the need for acceptance much like the Rise of the Third Reich years in later in history. The powerless and god-fearing people of Jewish society had no chance but to serve the Tsar and struggle to embrace both their generation-held hunger for tradition and the ever-changing world around them under the booming beguiling influence of the omnipotent Tsar. This entire ordeal is what generated the vision of Sholem Aleichem, author of the book, and what inspired Broadway producers and the like ubiquitously cross the globe, ensnaring the eyes of millions and reimbursing one thousand five hundred and seventy four dollars for every dollar contributed, not to mention spanning three thousand two hundred and forty-two performances at the actual Broadway Theatre alone. The play opens with a less then ecstatic Tevye delivering milk in the small Russian Shtetl (or small hamlet) of Anetevka as the Jewish villagers begin preparing for the Sabbath the following day. However, nearing the end of his work, Yente becomes consumed by the thought of having just a little more money (“If I Were A Rich Man”), his dream is almost realized when he gets home and the village matchmakers informs him that Lazar Wolf, the wealthy butcher of the town, wishes to marry his eldest daughter Tzeitel. And, although this turn of events pleases Tevye, it is a huge blow to the teenage Tzeitel, who wishes to marry her childhood sweetheart and tailor Motel. As rumor of pogroms spreads through the weary town Lazar Wolf and Yente meet at an inn and dance to the celebration of the upcoming marriage, unfortunately soon after they have their celebration, Yente bumps into the Russian constable overseeing Anetevka who tells them in the near future a pogrom has been scheduled. Over the next few weeks, Yente’s children all secretly break tradition and develop clandestine relationships behind their father’s back. Finally, after multiple musical numbers Motel approaches Yente for Tzeitel’s hand in marriage and Yente is impressed by his show of courage and agrees. Yente’s manipulates his wife’s superstitious nature and cons her into agreeing to the bohemian-style proposal. Some time goes by and the marriage starts, many arguments erupt over tradition but are interrupted by the constable once again alarming the villagers a small evacuation must begin in part of the town; thus ends act I. Act II is the culmination of all the clandestine relationships between Tevye’s daughters and the untraditional suitors that try desperately to convince Tevye to allow them to marry his children. It starts with Hodel and Perchik pleading with Tevye for his blessing, because “We do not seek your permission, only your blessing.” (Fiddler on the Roof) but the intolerant and stalwart Tevye rebukes them and enforces tradition, as always. The weary milkman then ventures off to contemplate the events that he has witnessed in the past months and admits that the world is changing and there nothing he can do about it, climatically returning to Hodel with his permission and blessing. Suddenly however, Perchik is arrested in Siberia and Hodel states that she belongs where her heart is and tells her father she must go and see her beloved, he agrees without question for after his ordeal with considering it Golde (his wife) acknowledges that she loves him, but he never fully agrees vice-versa, he knows then that he must allow his daughter to have what he never did and to allow her to go. Meanwhile, back in village, Model and Tzeitel have a baby and Model finally purchases that sewing machine he promised Tevye so that he could support the most traditional Jewish-style family he could. Without intermission, Tevye is again approached by one of his daughter’s suitors, this time it is Fyedka’s soviet boyfriend Chava. Initially Tevye considers, but after becoming guilty by the confines of his faith he mandates they may no longer speak to each other, for Chava is not Jewish; thus resulting in Fyedka’s running away to Krakow for yet another bohemian turn of events when they elope secretly. The lover’s plan is foiled however when they return to Anetevka and face the wrath of the furious Tevye, who mandates Fyedka is dead to the family and no one is allowed to speak to her. To exacerbate matters even further, the Russian constable in charge of Anetevka return to tell the residents in three days a pogrom will take place and they must leave their homes. Anti-climatically, the story ends with Tevye’s departure from Anetevka for America, followed by the infamously symbolic fiddler. “Cabaret”, the steamy, raunchy comedy that not only tackles immediate concerns of the time but also delves into the darker side of the human presented to it’s audiences by the sexual underworld of Pre-Nazi Berlin in the early 1930s. Now to fully understand the sheer decadence of the time and the precepts behind the familiar misconceptions of time one would have to look at the rise and fall of the Second Reich on Germany. After the First World War, a treaty was issued, which led to the decay and corruption of Germany as a whole. The Treaty of Versailles as it was referred to by the newly formed UN (or United Nations), which excluded the axis powers, including Germany, Forced the German people to accept sole responsibility for all war reparations, which destroyed Germany, crippling it’s economy and generated hyper inflation and mass hunger within the nation, and to also destroy the cultural heart of soul of the people. This mandate stole the pride and power of the innocent civilians within the once great nation and instilled confusion and disorder in all forms of life. While the Allied forces wallowed and prospered in grace they unrightfully raped from Germany, Germany underwent heavy and debilitating changes to feebly enforce the law and control the Government. In a year’s time the grand chancellor was replaced with a parliamentary-assembly form of government based around its ancient constitution, however after failing to bring about quick change the damaged republic looked to other forms of safety and order including mobs, gangs, cults, and the like. Numerous rebellions from small groups of out of work military personnel, farmers, and otherwise began to run rampant and cause much disorder within the empire; no one was spared from the gratuitous violence, during one such rebellion even the generation held king of Bulgaria was forced to evacuate his castle and seek shelter from the rampage. Money was printed daily almost at value due the economic crisis and villagers had no one anyone to turn to but themselves for support, even government fought crossed the table, left and right wing politicians debated an innumerable amount of times on which policies were constitutional, even as the fledging government morphed weekly on how it should be managed. Using the large superpowers of time such Russian Communism and English Parliamentary systems as models, the hierarchy became as raging and wild as the people they tried to manage. Before finally around on the horizon of the 1020’s they settled on a communistic style of government led by both assembly parliament and a foreign minister who led the failing country into a new are called the “Golden Years” in Germany during a time which can only be described as the “Roaring Twenties” at this time the people saw a rebirth of escapism to deal with the past few years a steady decline in mobs and cults, as well as a reopening of long since forgotten schools of art. This cultural rebirth sparked a new form of enjoy, a mix of political satire, sexual fantasy, and theatre performance called the “Cabaret”. However even as the nation once again regained stability and prosperity a new evil was emerging, a strict right wing party know as the NSDAP, or the Nationalist Social German Workers Party, or more commonly referred to as the Nazi’s. Embodying themselves with the German version of the American Purple Heart, the Iron Cross, the red arm patches and flags bore the symbol of German courage and intuition which inspired the people for ages past. Led by the troubled, yet intelligent and charismatic leader Adolf Hitler, the Nazi’s began their swift advance through the new age of government, aided by the people’s ignorance due to familiarity of small gangs to control politics from the aforementioned time, they never thought the Nazi’s would make it as far as they did and thought nothing of the sheer hatred possessed by the group due the unfeeling, uncaring mentality that had to be maintained to withstand the harsh tribulations from before. John Van Duten, author of “I am a Camera”, from which the musical “Cabaret” is derived, identified with the wild, crazy lifestyle of the era in search of motivation for inspiration for the book and saw this time period as a wellspring for which he could mold one of his greatest works. This bisexual English playwright ventured to Germany with a group of friends in hopes to find a new source of fun for phantasmagoric lifestyle, and like Cole Porter his partying and frivolities birthed a semi-autobiographical work like no other, one that combined actual historic details, deep philosophical argument, sexual desire, and raw fun that livened the New York populace and amazed audiences for over thirty years on Broadway. On November 20 1966, the red curtain open to reveal a drum a cymbal crash with no backdrop but a large mirror and the sexually ambiguous countenance of none than the devilish master of ceremonies, or more affectionately referred to as the ‘Emcee”. The opening number breaks the fourth wall as he the Emcee and his strippers warm the crowd portrayed as the theatre goers of the decrepit, downtown Cabaret of the “Kit Kat Klub”. Introducing his main girls and guys the scene quickly changes to the bus station as the manifestation of Duten, Cliff Bradshaw, steps of the train to make his entrance into Pre-World War II Berlin. After stepping off the train the writer meets Ernst Ludwig, they share a small conversation about the happenings of the city and become quick friends, Ernst recommends a boardinghouse for which Cliff joyfully accepts and walks to. Upon entering the small building he is greeted by the proprietor of the property, Fraulein Schneider, the representative of the battered, elderly of Germany, who offers one hundred marks for a room, however, Cliff, a smart and charming Englishmen, uses his superior linguistics skills to grind down the price to only fifty marks, Fraulein agrees on the bases that she must accept whatever she get in the song “So What?”. Cliff then strolls about the town in search of stimulation, finding it in the small, dingy nightclub, the “Kit Kat Klub”, he watches as the Emcee introduces an English woman by the name of Sally Bowles who performs a risqué number and catches the eye of Mr. Bradshaw. After performing another racy dance with the rest of the dancers she sits at the table with Cliff and pleads with him recite poetry to her, which he eagerly agrees, he also offers to take her home, but she resists on the platform that her boyfriend, Max, the club’s owner would become too jealous, he understands and makes his way home for the day. The next morning after teaching English lessons to Ernst for some quick money to pay the rent, a knock is at his door, but when he greets the new guest with Schneider, he is greeted by none other than a distraught Bowles who begs him to let her stay in his room for her boyfriend has indeed become frustrated and has fired her without even so much as a room to stay in. Reluctantly, and after much debate, Sally sings a number for the two friends and convinces them to agree to let her board there. Meanwhile, just a moment’s time after that incident Fraulein Schneider begins flirting with the next door fruit salesman, Herr Schultz, a Jewish man about the same age as her who also room at the boardinghouse. The stage darkens and lights come back the draconically suave continence of the Emcee delights the viewers and comments on the sexually charged nature of Berlin in own performance at the cabaret entitled “Two Ladies” wherein he confesses his love relationship with two stunning yet also sexually ambiguous “Ladies”. After about a week’s time, Herr Schultz gives Fraulein Schneider a gift, a luxurious pineapple, wish in most classic customs is a welcoming sign that lovers would present to each other, and although at first Fraulein Schneider feels she cannot accept, Ernst compels her to by opening expressing how he feels about her; this simple scene, although romantic, also has a deeper meaning, it conveys how the older populace, beaten by the times, were forced to adapt and change to newer ways and yet still struggle to not forget to embrace their old traditions, like the age old problem of generations trying to live together in the ever changing world. However, the brief and subtle pause by the this touching moment is often forgotten by ever looming cloud the foreshadows the coming of Hitler and the Third Reich of Germany, just as this scene ends, the lights come upon the Kit Kat Klub once again as a hilarious show is interrupted by a young employee wearing a Nazi armband stands to solute and sing a patriotic anthem (“Tomorrow Belongs To Me”) which eventually swallows the entire room, including the ever present Emcee which once again alerts the crowd the ominous, empirical overtones within both the play and the German populace of the time. The play then time skips for a period of a few where Cliff and Sally have fallen in love, and, with some reluctance, Sally confesses to Cliff that she is pregnant; however she does not know who the father is. At first, Sally suggests an abortion is order; however the upright, ex-navy Englishmen cannot allow her to do that, after all, he believes it could be his baby. Expecting the new baby, Cliff looks for ways to make some quick cash, on one such occasion Ernst recruits Cliff to deliver a mysterious looking package to Paris for him, for which the cabaret’s response is the song “Money” wherein the emcee describes from his point of view how money is the only driving force in the world “But when hunger comes a rat, rat, tat, tat, tat, see how flies out the for money makes the world go round” (Cabaret). However, while Cliff is away, an argument breaks out between Fraulein Schneider and a woman staying at her boardinghouse, Fraulein Kost, who continuously brings sailors into her room at late hours. Angrily, Fraulein Kost threatens to leave the house and also says she’s seen how Schneider and the Jew are getting close and says it may not be wise to have a relationship with him. Weeks later Cliff returns to the house of drama as Herr Schultz and Schneider are about to wed, it is happy ceremony, except the happiness is once again interrupted by Ernst (now wearing a Nazi armband) who also warns Schneider about how dire the situation actually is. The entire first act is then wrapped up by the entire party looking on the to what the future holds singing “Tomorrow Belongs to me”. The Red curtain once again is repealed to reveal a dance line of the strippers along with the emcee hidden in open wearing drag clothing, once again reinforcing the Nazi overtones of the play. And, to even darken the entire scene further Fraulein Schneider and Herr Schultz have a conversation about their safety concerns about the marriage and just at Schultz is reassuring Schneider, a brick is thrown through window as a threat. Adding a choppy, swift feeling to mix, the scene once again changes to club, just like in the culture of time, the entire second act is full of these quick changes that keep the audience in the throes of the moment, the emcee comments on the Schultz situation by singing a love song to a gorilla and at the end saying ‘If you could see her through my eyes, she wouldn’t look Jewish, at all!” (Cabaret). Things at the boardinghouse become even more chaotic when Fraulein Schneider returns engagement present to Sally and Cliff saying for obvious reasons the wedding has been called off, Cliff protests but Schneider knows what she must do. Cliff and Sally then have a heated argument and Sally leaves to perform at the club, Cliff follows her but gets in a fight with Herr Ernst as he insult Fraulein Schneider and the “Jew at the Party”, he is beaten and returns home bruised and worn. The next day Sally confesses that she has got an abortion to Cliff slaps her in anger and get on the next train out of Berlin without her, and begins to write his novel. “Ragtime” is the heart rending tale of the chaotic nature of the world and effect of the effect of cultural melding in America, the transient quality of life that had a profound effect on the history of America during the time of both “The Fiddler on the Roof” and “Cabaret”; and as one can see, the near culmination of both stories is well represented in the “Ragtime”. “Ragtime” uses quick scene changes and a gripping plot that leaves viewers on the edge of their seats just waiting to find out what happens to the characters journeying both through their lives and through the world as America emerges as a world superpower. And, just like “Fiddler on the Roof” and “Cabaret” preceding it, “Ragtime” was based on the novel by E.L. Doctorow, which tells the story of three every-mans, three Americans just making there way through the ever advancing American world, three dramatically different humans all sharing the same trials as one another. Now at this time in America, Germany has just collapsed in financial and cultural decimation, Russia has just underwent communist reform, and Europe as a whole is just barely scraping through the rubble of World War I on the eve of the craziest, wackiest, most luxuriously insane time in history, the “Roaring Twenties”. Despite the decadently lavish scenes and happily haunting tunes in “Ragtime” it only ran for two years on Broadway, mostly due to the release of the Disney’s “The Lion King”; however, under all the fiscal lingo and grimy details, “Ragtime” is a magnificent piece winning 13 Tony Award Nominations and is, in part, responsible for the making of the Tony Award for Best Musical. The play opens with a prologue addressing the three main socio-ethic groups present in America at the time, Blacks, Immigrants, and more well off white people from previously migrated European nations. A character of the white group known as Father leaves on a voyage with admiral Perry to the arctic, whilst at the same time, Tateh meets a small girl on a ship on the way to harbor Father is departing from (Journey On). The scene then quickly changes to headliner Evelyn Nesbit singing a song that facetiously pokes fun at her immense amount of fame, while Mother’s Son (referred to as younger brother in the play) tries to flirt with her, unsuccessfully. Back at Mother’s home, while out gardening one day she finds a black baby in the soil and is abhorred that one could do that to a child; swiftly calling the police she finds the family it belongs and calls the mother. Sarah, the baby’s mother, quickly arrives on the scene and states that she is sorry; the cops are resolute nonetheless and tell Sarah she will be tried for attempted murder, before Mother steps in and says she will take responsibility for both the baby and Sarah to everyone’s surprise. Sarah returns home quickly to find the father, big name rag singer, Coalhouse Walker there who begs her to take him back, at first she fights it, but after Coalhouse buys a new Model T car and promises to “do his damndest to see that she takes him back!” “Ragtime”. Meanwhile, the white family leaves town to find Tateh and the small unnamed girl exiting New York City to find the life they always wanted, Edgar (part of the white family) tells Mother that they will Tateh again even though she believes it is a ridiculous idea. Coalhouse then walks in on Sarah singing to the baby about how Coalhouse “Left for other tunes and women” and how she must forgive Sarah for trying to kill her, she didn’t mean to but she was scared and uncertain for the future, Coalhouse interrupts by announcing he will return everyday for weeks until she takes him back. All goes well for a few weeks; Coalhouse does just as he says however he becomes close friends with Mother in Father’s absence until Father Walks in one day with Coalhouse serenading Mother at the piano with his new show tunes. Younger Brother, the one who is in love with Evelyn, stumbles into an anarchist rally, who he finds to be quite entertaining and follows them until they become a riot and attack a textile mill outside of town; by coincidence it just so happens it is the mill that Tateh now works, however luckily he is unharmed as he is too busy obsessing over a new invention of his, the flipbook! Meanwhile the new Black family goes on a picnic in celebration of Sarah finally forgiving Coalhouse, the joyful scene is disturbed by a corrupted firemen unlawfully extorting Coalhouse, who refuses resulting in the vandalization of his car. Now frustrated Coalhouse seeks any source of help he can, however his search for support is grounded when he realizes no white lawyer will help him due to his race; Sarah believes she must do what she to help Coalhouse and seeing as how the President would be making an appearance nearby she sprints to him waving her hands wildly to speak to him. The Secret Service mistake her for an assassin however and she is tragically beaten to death, the first act then ends with a mourning Coalhouse and baby, and Tateh and the Little Girl singing about how they hope one day they will be treated just like everyone else and the world will be equal and everyone can live in peace. Coalhouse opens Act II with a startling turn of events, he terrorizes the town, raising mobs of men, killing firemen to find the one who trashed his car and even burning down firehouses. Tateh and Mother become good friends, as well as Father who mostly stands in the background running business affairs while the two families’ kids play together and go out to ball games. Coalhouse’s fury is only fanned higher as the baby is taken out of Mother’s custody by social services; he recruits Younger Brother from the anarchist meeting and attacks a local library, barricading himself inside until his demands are met. Mother is at a loss because although she also seeks justice she does not want to see Coalhouse hurt so she sends Booker T. Washington in to speak to Coalhouse to negotiate a peaceful surrender. Coalhouse finally learns he must speak through peaceful means and calls the mob off, unfortunately, while exiting the building he is beaten by police. The red curtain closes and Edgar comes out with a projector turning it on to reveal the individual fates of the surviving characters as the era of ragtime comes to a close. Through these classical plays that speak to a part of humanity that everyone can relate to, a certain aspect of the human soul that no matter how far the human race advances it will never is able to grow beyond. From the ancient Greek philosophers who realized that life is unchangeable and unending to these new age playwrights who show the populace that life moves on and although life is not always enjoyable, it is tolerable and must be, it is inalterable and yet can look so different from merely a different standpoint. This selection of plays all reveal core wants and needs imbedded, intrinsically within all people, and how all people are connected no matter what race, creed, nationality, or belief; how humanity is united in the fact together all people are made up of the same essential needs and wants, how humanity must cope with everyday events and learn to accept what cannot be changed and understand one another’s differences. And once one learns to wrap their minds around that principle, the purpose of literature, the purpose of these classics, both new and old, reveals itself, and all those petty differences seem to melt away, it’s what the ancients learned, it’s the message hidden in every religion and philosophy, it’s the reason why whatever humanity learns is worth everything and yet simultaneously nothing, it’s the thing that cannot be described, the indefinable human soul.
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Post by Sin the Keeper on Jul 6, 2010 6:46:18 GMT 12
Name:Desmodus Nickname:Bane or The Reaper Age: 20, he forgot. Gender:Male Race: Noble Job:Once part of the noble council.. Rank: Rogue Appearance: Clothing: Magic: Other then extreme martial prowess, his magic is based upon the element of electricity. His power is very broad,and he act as a battery. His nerve create enough electricity for basic attacks, but lets say he was hooked to a generator, his attacks would be doubled, and would be capable of more. Weapons:His scythe. It his crafted out of the arm and leg of a Pureblood, the blade is the rest of the Pureblood encased in silver. The Blade is stained with pures blood, so if a vampire is cut with it, they may also go insane, also its drenched in anti-vampire magic. Brief History: Des has been a vampire for centuries if not millenia.However he became insane around the age of...1000 give or take a few hundred years. Him and his also vampire lover where out hunting for prey, when they came across a pureblood they attacked, taking him by surprise. In the end, Des lost his lover and several servants, but killed the pureblood. Hey drank its blood, because he was drained, and slowly grew insane. He had the body made into a weapon, and placed the rest of his lover in a coffin and lug her around wherever. Other: Placed his lovers heart next to his, litterally. And Is addicted to electricity.
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