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Entry tags:
Futurology: App
APPLICANT INFO.
NAME: Emily
CONTACT: leapsthroughspace[at]gmail; skycrawler[at]plurk
CURRENT CHARACTERS: n/a
CHARACTER INFO.
NAME: Glee Shoth
CANON: Inheritance Trilogy
AGE: ~110 but looks ~30
APPEARANCE: An impeccably well-put-together six-foot-tall black woman with a thundercloud of dark hair. PB is Karen LeBlanc.
CANON POINT: Post-Kingdom of Gods/God Without A Name
BACKGROUND:
The Hundred Thousand Kingdoms/The Broken Kingdoms
This will be much more coherent if we start with a paragraph of history (theology?). This universe had Three gods: Nahadoth, deity of darkness and chaos and night, Itempas, god of light and order and day, and Enefa, goddess of balance and life and death and twilight. These gods had a vast and sprawling family: immortal children (godlings), and mortal children (demons, the offspring of gods and mortals). One day, a demon accidentally killed a godling, and the Three realized that demon blood – the combination of magic and mortality – was deadly to immortals. Nahadoth and Itempas went on a genocidal killing spree to wipe out every demon they could find, and Itempas banned his family from having any more children with mortals. This genocide was the first crack in the family’s happiness. The second came when Enefa took Nahadoth away, and Itempas went mad, killed Enefa, and enslaved Nahadoth to a family of mortal priests. Two thousand years later, Nahadoth and some godling allies planted Enefa’s soul in a mortal named Yeine, who managed to assume Enefa’s full divine powers. Yeine and Nahadoth turned around, stripped Itempas of most of his powers, and bound him to wander the Earth as an anonymous mortal, righting all the wrongs that had been done in his name over the last two thousand years. After only ten years of this, Itempas ran into Oree Shoth, a blind painter who could see magic. Unbeknownst to Oree, she was one of the last demon descendants, and Itempas and Oree had some adventures and misadventures saving the world. They settled down and conceived a daughter, buuuut then Nahadoth and Yeine showed up and told Oree that she had to kick Itempas out or they’d kill her, because Itempas hadn’t suffered enough for Nahadoth’s liking. So off Itempas went to do some more wrong-righting in far-away places.
The Third Why
Glee Shoth was born and raised in a small and quiet town, knowing her family’s history and that she was a god’s kid, but not really knowing what to do with herself. On her eighteenth birthday, she informed her mother that she was setting off to find her father. She didn’t know why she wanted to do it, because she was still uncertain about what her place in the world was supposed to be – just that she definitely had to do it. She spent the next three years travelling around the world tracking her father down… only to have Itempas tell her that he didn’t want her there, because of the risk that Nahadoth and Yeine would come and kill her. She engaged in a bit of respectful logical shenanigans (arguing that she wouldn’t be travelling with him, she’d just happen to travel to all the same places he did and stay at all the same places he did. There’s definitely a distinction, right?). When he was still reluctant, she stood up to him on his own turf of duty and rules and propriety, convincing him that the risk was hers to accept not hers to deny, and that she was committed to accepting it.
This started the next stage of her life: travelling with her weird dad, while pretending not to travel with her weird dad. Because both Glee and her father had an excellent and innate knack for sticking to rules, they fell into an artificial but comfortable routine of travelling not-really-together-really.
It took Glee a while to figure out what her dad was up to, because he was so taciturn and uncommunicative that he never just told her what his goal was. After a few months, she figured out the pattern: he would go to poor towns, take dangerous jobs, die or get mangled (and regenerate through magical shenanigans) to prove a point about how shitty people treat each other. Then he would move on and repeat the whole thing again, like an unkillable shame-inducer. This was sincerely bizarre, but in this way (and by taking similar shitty jobs in shitty towns herself), Glee was able to get a widespread and first-hand look at how indifferently cruel the world could be, with the whims of the powerful and greedy wrecking the lives of the powerless and downtrodden.
And because Glee had a deep-rooted sense of justice, propriety, and order, this state of affairs got under her skin. The selfish and powerful, she concluded, needed to understand that greed hurt everyone, including themselves. And she firmly believed that people could be better. Her father’s public shaming act was a step in the right direction, but it was ineffective: some places changed for the better after a random traveler died in an industrial accident, but most of them didn’t care. And so Glee came up with another idea: stop trying to change small communities on the margins of global society, and go to the heart of global politics. Exert positive influence on the powerful and fight injustice in the capital of the world, and it would radiate outwards. It took her father a while to come around, but eventually, she got him out of his rut, and dragged him off to the big city with her to protect people by effectuating a gradual sea-change in international politics governance and economics.
This brought an end to her wandering period, and it taught her a lesson about herself: she didn’t have the raw power of a god, and she would never entirely fit in among humans, but by being more stubborn than most people and more flexible than her father, she could still slowly reshape the world to suit her ideals. And that solved the answer of what she should be and what she should do with her life: she would be a steady but somewhat-flexible force for justice. She’d spend her life working toward it, and she wouldn’t back down until she’d pulled it off.
The God Without A Name/Kingdom of Gods/Not The End
Being a steady-but-somewhat-flexible-force-for-justice turned out to be a challenge, even for someone as hard-working and stubborn as Glee. First, Glee and her father headed to the de facto capital of the world, the city of Sky-in-Shadow, where they hijacked a loosely-organized group of godlings and turned it into a tool for information gathering and applying pressure on international politics. Second, Glee reached out to the godling who had accidentally taken over Shadow’s underworld. This presented a problem: this godling, Ahad, was an almost-clone-through-magic-shenanigans of Nahadoth, and Glee had gotten both enough of her father’s nature to be attracted to her opposite and enough of her mother’s common sense to go “hold on, this attraction is too base and I refuse to act on the bizarre instincts generated by my divine genetics.” Through force of willpower, they became merely friends and business partners. She needed Ahad’s organization for her world-reforming goals, so she couldn’t just ignore him. Through force of will, she became completely platonic business partners with him. They blended their organizations and basically started pulling strings around the world from an expensive whorehouse.
That went decently enough, for several decades. Most of their energy was devoted to gathering information, managing operatives, and mitigating the chaos which accompanied the decline of their world’s only great imperial power from behind the scenes. But then, several disasters cropped up almost at once. First, Sieh, the god of childhood, began to age and die. Second, a mysterious godling started trying to collect body parts of the Three for some unknown (but presumably nefarious) purpose. Third, someone began assassinating members of the declining pseudo-empire’s ruling family. Glee bullied her father into hiding for his own safety (and possibly the world’s safety), sent operatives to investigate the mysterious godling, and went into the field herself protecting the pseudo-imperial family. But when Itempas tried to solve the mystery of Sieh’s looming mortality, the mystery-godling, Kahl, ripped out a chunk of Itempas’s body and used it to summon Maelstrom. At some unspecified point in this madness, Glee and Ahad went “the world is ending and we have bigger problems than pretending we don’t want to sleep with each other” and upgraded their relationship.
When Kahl kicked off the final climactic battle by trying to kill Itempas for good, Glee hurled herself into the fray alongside Nahadoth and Yeine. For a short period of time, she was able to draw on enough power to match her dad’s siblings… but partway through she burnt out on power and went into a coma, and everyone else saved the world while she was passed out cold. When she woke up, Ahad was taking care of her, her dad had gotten all his powers back and moved back in with her mom. And that was pretty awesome.
PERSONALITY:
Glee gives a first impression of self-assurance in almost every situation. She dresses like a nobody and operates an intelligence network out of a whorehouse, but she never stops carrying herself like a queen. Her particular brand of absolute self-confidence doesn’t manifest in putting others down or actively asserting her dominance: she just has a quiet, inexhaustible well-spring of self-worth that lets her stand proud and face off against gods without flinching or missing a beat. She doesn’t take shit from anyone.
Such confrontations are occasionally necessary because Glee is incredibly stubborn. What she sets her mind to, she will get, be it through hard work, magic, or the help of her family and associates. This is a woman who spent three years tracking her dad across the world, another few years roadtripping with him watching him die in bizarre industrial accidents, and decades administering a mafia of querulous peacekeeping godlings. Once she starts something, she sticks with it. At first, the things Glee chooses to be stubborn about (embarking on a years-long road trip to find and then follow her dad) are driven by her need to find out about herself and her place in the world, which she thinks she can learn by spending time with her father. After she has a better idea of herself and her potential (as someone with big goals, with less raw power but more flexibility than her father), she refocuses her stubbornness on her long-term goal: inducing a gradual, peaceful sea-change in global governance and reshaping a more just and orderly society. She’s tireless once she throws herself into something (she keeps up the “slowly stabilizing the world” gig for a century), and doesn’t think any form of hard work is beneath her (she takes on all sorts of menial odd-jobs while looking for and travelling with her dad).
Glee respects and takes comfort in hierarchies, systems, and rules. She’s well-spoken, controlled, and strives to be appropriately respectful and well-mannered at all times. But she also uses hierarchies, systems, and rules to her advantage. She has a legalistic mind, and can point to rules and points of propriety like weapons, using tradition to validate her breaking tradition. She operates on rationality, detests uncertainty, and is overall well-organized and a hyper-competent administrator.
While Glee is respectful, has a deep-rooted sense of right-and-wrong, and has pretty much devoted her life to protecting people and imposing a more just world order, that doesn’t mean she’s nice. She’s often reserved with people she doesn’t know, and her self-confidence often comes off as imperiousness. She snaps at people when she’s pressed too far, doesn’t sugar-coat things, and, although she tries not to show it, she gets upset, angry, and frustrated like anyone else. On the other hand, she’s fiercely loyal and protective. She has a wry sense of humor (absurd juxtapositions will get her every time), and can laugh at herself and her own situation. And in the end, she’s a cautiously optimistic person. She’s enough of a realist to know that protecting the world won’t be smooth sailing, but she has confidence that she can pull it off.
ABILITIES:
· Teleportation. She can teleport herself, teleport people with her, or translocate other people without moving herself.
· Seeing magic. When Glee closes her eyes, she can see magic and magical residue (such as footsteps where godlings have walked).
· Summoning a super-sword.* Glee can manifest a magical white sword that embodies the intent to carve justice and order out of chaos and will kill anyone that gets close to it except her and her dad.
· Combat power-up.* Setting herself on fire, superspeed, throwing around light and heat, flying, super-jumping.
· Hiding herself (and others) from absolutely anything. Glee hides her dad from every other god for a while.
· Brimming with magic at sunrise. This isn’t a useful skill, it’s just a thing that happens. At sunrise, Glee suffuses with magic. To people who can see magic, she glows white for a few minutes and then it all fades.
· Living a really really long time. Demons are naturally long-lived (Glee looks 30 at 110). On top of that, Yeine extended Glee’s life magically. Partially to be nice to Ahad, partially because having Glee around is a useful way for Nahadoth to bully Itempas.
Strong demons in the Inheritance-verse can tap into creator-deity levels of power – Glee spends part of the final battle in Kingdom of Gods as a placeholder for her de-powered dad, fighting at the same tier as Nahadoth and Yeine. At least, she does for a couple of minutes. Then she burns out, goes into a coma, and her magic is weak when she finally wakes up. So, overuse of her active offensive powers (marked with an asterisk) will hit Glee with powerful backlash, up to going into a coma and power loss. (The overexertion isn’t just a Glee thing; the same thing happens to her mom after channeling creator-deity power for a short period as well.)
INVENTORY:
Nothing.
WRITING SAMPLES.
NETWORK SAMPLE:
[ With the dragon temporarily behaving, she turns to the next task: figuring out how the messaging magic works. She's familiar with messaging spheres from her time with the Arms of Night, but this clearly isn't a scrivener construct, and that means it's worthwhile to figure out what the contours of this unfamiliar magic. She goes through its functions meticulously, patiently, sussing out all its features before she even tries to send her first message.
Once she's satisfied that she can use it without making a fool of herself, she takes a moment to collect herself -- wiping the latest patch of soot from her cheek, pulling her hair out of its workman-like bun and settling it into its usual thundercloud. When she turns on the messaging system a moment later -- a transmission from Glee Shoth, because she is both hyper-literal and made sure she configured the crystal to her liking -- she presents an impeccably composed, calm figure, as though she could have walked into any boardroom or throne room in the multiverse without looking out of place. When she speaks, her voice is crisp and businesslike. ]
As you’ve noticed, working alone or in small groups makes it difficult to keep control over your wyrmlings. It also leaves you and your charges vulnerable to local retaliation. Given that ALSTAIR has not provided information on when, where, or how our charges will be extracted, [ she raises a brow for a moment and only for a moment, just enough to signal skepticism and disapproval but not enough to be impolite or openly hostile. Glee has administered a super-powered mafia before, and this is not how a smart organization handles talented operatives, ] we need a strategy to keep them away from the townspeople for the foreseeable future.
[ She shifts back from the camera slightly, a conscious move to signal a transition to the next segment of her message, and one of the little signs that she's used to addressing disparate groups and compelling their attention. ]
Unpleasant as they are, going back into the caves presents the best option for stopping the wyrmlings from unnecessarily provoking the townspeople -- and the best option for defending them if conflict is inevitable. Going into the caves as a group has the additional benefit of allowing us to assess our collective strength, and to discuss any alternative long-term plans.
[ Subtly, she's already casting any plan that isn't hers as an alternative -- and something you only get to discuss once you've followed her initial direction-slash-suggestion. And if some people have a knee-jerk negative reaction to that sort of thing -- well. Glee is what she is. ]
LOG SAMPLE:
@tdm
NAME: Emily
CONTACT: leapsthroughspace[at]gmail; skycrawler[at]plurk
CURRENT CHARACTERS: n/a
CHARACTER INFO.
NAME: Glee Shoth
CANON: Inheritance Trilogy
AGE: ~110 but looks ~30
APPEARANCE: An impeccably well-put-together six-foot-tall black woman with a thundercloud of dark hair. PB is Karen LeBlanc.
CANON POINT: Post-Kingdom of Gods/God Without A Name
BACKGROUND:
The Hundred Thousand Kingdoms/The Broken Kingdoms
There is a legendary romance in this. And most fascinating to me, most frightening, is that it isn’t over yet.
This will be much more coherent if we start with a paragraph of history (theology?). This universe had Three gods: Nahadoth, deity of darkness and chaos and night, Itempas, god of light and order and day, and Enefa, goddess of balance and life and death and twilight. These gods had a vast and sprawling family: immortal children (godlings), and mortal children (demons, the offspring of gods and mortals). One day, a demon accidentally killed a godling, and the Three realized that demon blood – the combination of magic and mortality – was deadly to immortals. Nahadoth and Itempas went on a genocidal killing spree to wipe out every demon they could find, and Itempas banned his family from having any more children with mortals. This genocide was the first crack in the family’s happiness. The second came when Enefa took Nahadoth away, and Itempas went mad, killed Enefa, and enslaved Nahadoth to a family of mortal priests. Two thousand years later, Nahadoth and some godling allies planted Enefa’s soul in a mortal named Yeine, who managed to assume Enefa’s full divine powers. Yeine and Nahadoth turned around, stripped Itempas of most of his powers, and bound him to wander the Earth as an anonymous mortal, righting all the wrongs that had been done in his name over the last two thousand years. After only ten years of this, Itempas ran into Oree Shoth, a blind painter who could see magic. Unbeknownst to Oree, she was one of the last demon descendants, and Itempas and Oree had some adventures and misadventures saving the world. They settled down and conceived a daughter, buuuut then Nahadoth and Yeine showed up and told Oree that she had to kick Itempas out or they’d kill her, because Itempas hadn’t suffered enough for Nahadoth’s liking. So off Itempas went to do some more wrong-righting in far-away places.
The Third Why
There will be trials to come, naturally. Worlds do not change easily, and certainly not without risk. But this world will change, now, because Glee has decided that it must. This is why she needed him, after all: to understand herself. Now that she does… well. She smiles at the fire and contemplates the new order that she means to build. It is only a matter of time.
Glee Shoth was born and raised in a small and quiet town, knowing her family’s history and that she was a god’s kid, but not really knowing what to do with herself. On her eighteenth birthday, she informed her mother that she was setting off to find her father. She didn’t know why she wanted to do it, because she was still uncertain about what her place in the world was supposed to be – just that she definitely had to do it. She spent the next three years travelling around the world tracking her father down… only to have Itempas tell her that he didn’t want her there, because of the risk that Nahadoth and Yeine would come and kill her. She engaged in a bit of respectful logical shenanigans (arguing that she wouldn’t be travelling with him, she’d just happen to travel to all the same places he did and stay at all the same places he did. There’s definitely a distinction, right?). When he was still reluctant, she stood up to him on his own turf of duty and rules and propriety, convincing him that the risk was hers to accept not hers to deny, and that she was committed to accepting it.
“This isn’t your burden,” he says when she frowns. His voice is gentle.
“Of course it is,” she snaps, and then bites down on her temper so that she can remain respectful.
This started the next stage of her life: travelling with her weird dad, while pretending not to travel with her weird dad. Because both Glee and her father had an excellent and innate knack for sticking to rules, they fell into an artificial but comfortable routine of travelling not-really-together-really.
It took Glee a while to figure out what her dad was up to, because he was so taciturn and uncommunicative that he never just told her what his goal was. After a few months, she figured out the pattern: he would go to poor towns, take dangerous jobs, die or get mangled (and regenerate through magical shenanigans) to prove a point about how shitty people treat each other. Then he would move on and repeat the whole thing again, like an unkillable shame-inducer. This was sincerely bizarre, but in this way (and by taking similar shitty jobs in shitty towns herself), Glee was able to get a widespread and first-hand look at how indifferently cruel the world could be, with the whims of the powerful and greedy wrecking the lives of the powerless and downtrodden.
And because Glee had a deep-rooted sense of justice, propriety, and order, this state of affairs got under her skin. The selfish and powerful, she concluded, needed to understand that greed hurt everyone, including themselves. And she firmly believed that people could be better. Her father’s public shaming act was a step in the right direction, but it was ineffective: some places changed for the better after a random traveler died in an industrial accident, but most of them didn’t care. And so Glee came up with another idea: stop trying to change small communities on the margins of global society, and go to the heart of global politics. Exert positive influence on the powerful and fight injustice in the capital of the world, and it would radiate outwards. It took her father a while to come around, but eventually, she got him out of his rut, and dragged him off to the big city with her to protect people by effectuating a gradual sea-change in international politics governance and economics.
This brought an end to her wandering period, and it taught her a lesson about herself: she didn’t have the raw power of a god, and she would never entirely fit in among humans, but by being more stubborn than most people and more flexible than her father, she could still slowly reshape the world to suit her ideals. And that solved the answer of what she should be and what she should do with her life: she would be a steady but somewhat-flexible force for justice. She’d spend her life working toward it, and she wouldn’t back down until she’d pulled it off.
The God Without A Name/Kingdom of Gods/Not The End
For just an instant, her eyes seemed to flare red-gold like a struck match. "I have spent nearly the past century trying to keep this world from falling apart," she snapped. "I'm not a god. I have no choice but to live in this realm, unlike you. I will do whatever I must to save it — including working with godlings like you who claim to despise Itempas, though in reality you're just as selfish and arrogant as him at his worst!"
Being a steady-but-somewhat-flexible-force-for-justice turned out to be a challenge, even for someone as hard-working and stubborn as Glee. First, Glee and her father headed to the de facto capital of the world, the city of Sky-in-Shadow, where they hijacked a loosely-organized group of godlings and turned it into a tool for information gathering and applying pressure on international politics. Second, Glee reached out to the godling who had accidentally taken over Shadow’s underworld. This presented a problem: this godling, Ahad, was an almost-clone-through-magic-shenanigans of Nahadoth, and Glee had gotten both enough of her father’s nature to be attracted to her opposite and enough of her mother’s common sense to go “hold on, this attraction is too base and I refuse to act on the bizarre instincts generated by my divine genetics.” Through force of willpower, they became merely friends and business partners. She needed Ahad’s organization for her world-reforming goals, so she couldn’t just ignore him. Through force of will, she became completely platonic business partners with him. They blended their organizations and basically started pulling strings around the world from an expensive whorehouse.
That went decently enough, for several decades. Most of their energy was devoted to gathering information, managing operatives, and mitigating the chaos which accompanied the decline of their world’s only great imperial power from behind the scenes. But then, several disasters cropped up almost at once. First, Sieh, the god of childhood, began to age and die. Second, a mysterious godling started trying to collect body parts of the Three for some unknown (but presumably nefarious) purpose. Third, someone began assassinating members of the declining pseudo-empire’s ruling family. Glee bullied her father into hiding for his own safety (and possibly the world’s safety), sent operatives to investigate the mysterious godling, and went into the field herself protecting the pseudo-imperial family. But when Itempas tried to solve the mystery of Sieh’s looming mortality, the mystery-godling, Kahl, ripped out a chunk of Itempas’s body and used it to summon Maelstrom. At some unspecified point in this madness, Glee and Ahad went “the world is ending and we have bigger problems than pretending we don’t want to sleep with each other” and upgraded their relationship.
When Kahl kicked off the final climactic battle by trying to kill Itempas for good, Glee hurled herself into the fray alongside Nahadoth and Yeine. For a short period of time, she was able to draw on enough power to match her dad’s siblings… but partway through she burnt out on power and went into a coma, and everyone else saved the world while she was passed out cold. When she woke up, Ahad was taking care of her, her dad had gotten all his powers back and moved back in with her mom. And that was pretty awesome.
PERSONALITY:
The woman who walks into his office is everything he should hate. She radiates strength like a shroud of flame and wears her beauty as a shield for the blades of her tongue and mind. The way that she looks at him puts him instantly on edge. Arameri looked at him like that, back when he belonged to them.
Glee gives a first impression of self-assurance in almost every situation. She dresses like a nobody and operates an intelligence network out of a whorehouse, but she never stops carrying herself like a queen. Her particular brand of absolute self-confidence doesn’t manifest in putting others down or actively asserting her dominance: she just has a quiet, inexhaustible well-spring of self-worth that lets her stand proud and face off against gods without flinching or missing a beat. She doesn’t take shit from anyone.
Such confrontations are occasionally necessary because Glee is incredibly stubborn. What she sets her mind to, she will get, be it through hard work, magic, or the help of her family and associates. This is a woman who spent three years tracking her dad across the world, another few years roadtripping with him watching him die in bizarre industrial accidents, and decades administering a mafia of querulous peacekeeping godlings. Once she starts something, she sticks with it. At first, the things Glee chooses to be stubborn about (embarking on a years-long road trip to find and then follow her dad) are driven by her need to find out about herself and her place in the world, which she thinks she can learn by spending time with her father. After she has a better idea of herself and her potential (as someone with big goals, with less raw power but more flexibility than her father), she refocuses her stubbornness on her long-term goal: inducing a gradual, peaceful sea-change in global governance and reshaping a more just and orderly society. She’s tireless once she throws herself into something (she keeps up the “slowly stabilizing the world” gig for a century), and doesn’t think any form of hard work is beneath her (she takes on all sorts of menial odd-jobs while looking for and travelling with her dad).
Glee respects and takes comfort in hierarchies, systems, and rules. She’s well-spoken, controlled, and strives to be appropriately respectful and well-mannered at all times. But she also uses hierarchies, systems, and rules to her advantage. She has a legalistic mind, and can point to rules and points of propriety like weapons, using tradition to validate her breaking tradition. She operates on rationality, detests uncertainty, and is overall well-organized and a hyper-competent administrator.
While Glee is respectful, has a deep-rooted sense of right-and-wrong, and has pretty much devoted her life to protecting people and imposing a more just world order, that doesn’t mean she’s nice. She’s often reserved with people she doesn’t know, and her self-confidence often comes off as imperiousness. She snaps at people when she’s pressed too far, doesn’t sugar-coat things, and, although she tries not to show it, she gets upset, angry, and frustrated like anyone else. On the other hand, she’s fiercely loyal and protective. She has a wry sense of humor (absurd juxtapositions will get her every time), and can laugh at herself and her own situation. And in the end, she’s a cautiously optimistic person. She’s enough of a realist to know that protecting the world won’t be smooth sailing, but she has confidence that she can pull it off.
ABILITIES:
“What is it that you want, mortal?”
“To kill you,” she replied. Then she burst into white-hot flame.
· Teleportation. She can teleport herself, teleport people with her, or translocate other people without moving herself.
· Seeing magic. When Glee closes her eyes, she can see magic and magical residue (such as footsteps where godlings have walked).
· Summoning a super-sword.* Glee can manifest a magical white sword that embodies the intent to carve justice and order out of chaos and will kill anyone that gets close to it except her and her dad.
· Combat power-up.* Setting herself on fire, superspeed, throwing around light and heat, flying, super-jumping.
· Hiding herself (and others) from absolutely anything. Glee hides her dad from every other god for a while.
· Brimming with magic at sunrise. This isn’t a useful skill, it’s just a thing that happens. At sunrise, Glee suffuses with magic. To people who can see magic, she glows white for a few minutes and then it all fades.
· Living a really really long time. Demons are naturally long-lived (Glee looks 30 at 110). On top of that, Yeine extended Glee’s life magically. Partially to be nice to Ahad, partially because having Glee around is a useful way for Nahadoth to bully Itempas.
Strong demons in the Inheritance-verse can tap into creator-deity levels of power – Glee spends part of the final battle in Kingdom of Gods as a placeholder for her de-powered dad, fighting at the same tier as Nahadoth and Yeine. At least, she does for a couple of minutes. Then she burns out, goes into a coma, and her magic is weak when she finally wakes up. So, overuse of her active offensive powers (marked with an asterisk) will hit Glee with powerful backlash, up to going into a coma and power loss. (The overexertion isn’t just a Glee thing; the same thing happens to her mom after channeling creator-deity power for a short period as well.)
INVENTORY:
Nothing.
WRITING SAMPLES.
NETWORK SAMPLE:
[ With the dragon temporarily behaving, she turns to the next task: figuring out how the messaging magic works. She's familiar with messaging spheres from her time with the Arms of Night, but this clearly isn't a scrivener construct, and that means it's worthwhile to figure out what the contours of this unfamiliar magic. She goes through its functions meticulously, patiently, sussing out all its features before she even tries to send her first message.
Once she's satisfied that she can use it without making a fool of herself, she takes a moment to collect herself -- wiping the latest patch of soot from her cheek, pulling her hair out of its workman-like bun and settling it into its usual thundercloud. When she turns on the messaging system a moment later -- a transmission from Glee Shoth, because she is both hyper-literal and made sure she configured the crystal to her liking -- she presents an impeccably composed, calm figure, as though she could have walked into any boardroom or throne room in the multiverse without looking out of place. When she speaks, her voice is crisp and businesslike. ]
As you’ve noticed, working alone or in small groups makes it difficult to keep control over your wyrmlings. It also leaves you and your charges vulnerable to local retaliation. Given that ALSTAIR has not provided information on when, where, or how our charges will be extracted, [ she raises a brow for a moment and only for a moment, just enough to signal skepticism and disapproval but not enough to be impolite or openly hostile. Glee has administered a super-powered mafia before, and this is not how a smart organization handles talented operatives, ] we need a strategy to keep them away from the townspeople for the foreseeable future.
[ She shifts back from the camera slightly, a conscious move to signal a transition to the next segment of her message, and one of the little signs that she's used to addressing disparate groups and compelling their attention. ]
Unpleasant as they are, going back into the caves presents the best option for stopping the wyrmlings from unnecessarily provoking the townspeople -- and the best option for defending them if conflict is inevitable. Going into the caves as a group has the additional benefit of allowing us to assess our collective strength, and to discuss any alternative long-term plans.
[ Subtly, she's already casting any plan that isn't hers as an alternative -- and something you only get to discuss once you've followed her initial direction-slash-suggestion. And if some people have a knee-jerk negative reaction to that sort of thing -- well. Glee is what she is. ]
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