Altars , Shrines and Places of Worship

Hall of the Gods, Main Chapel - The Temple has been carved from the ice of the glacier. A vaulted ceiling rises above you, carved with faint designs, and thick pillars etched with the symbols of the gods rise to meet the dome. The walls glimmer with light from the sun, adding divine ambiance to an already spectacular chamber. To the northwest is a passage, seemingly brighter than the rest, while the tunnel to the southeast looks darker than you would think possible in the well-lit Temple.

Temple, Hallway - Luminous ice surrounds you, making the hall glow a silvery blue. Several halfling priests wander through, chatting happily, while a mother walks with her child, telling the young one about the gods. A dark archway opens in the south wall. To the west, a crew of halflings is carving a new section from the ice, and the new rooms look to be completed soon.You also see a large wooden sign: The large wooden sign reads: Under Construction - Halls of the Gods' Grace

Hall of Rebirth - Sunlight streams through the ice, illuminating the room with clean, golden light. Faint rainbows dance on the walls, playing across the huge mural hanging on the southern wall. The air is still and cool, layered with peace and serenity. You cannot help but feel calm here, as if something loving was watching over you.

Look at South Wall: An immense hand gently cradles a soul, laying it tenderly upon the ground. Written beneath the hand in flowing letters is the phrase, "For thy deed, my pledge fulfilled," bringing great comfort to your soul.

Halls of the Gods

These are halls that hold the altar and murals of the Arkati, both Light and Dark.

The Gods of Light

(Arkati of Liabo)

Hall of theHoly Struggle - The walls of this circular chamber are filled with pictures of horror and of goodness. The western walls are covered with carvings of undead beings, etched in disgusting detail, while the eastern walls bear bas-relief warriors in gleaming armor marching to war. The pictures seem to be chasing each other in a perpetual hunt, although you could better see if you looked more closely. Two altars have been erected in the room, one tinted black, the other white. A spiral staircase leads up to the next level.

Look at West Wall: All manner of horrible undead creatures are depicted on this wall. Skeletons with rotting flesh hanging from their bones, horrible ghouls and rotting mummies, and decomposing zombies can all be seen, following a man whose image strikes terror in the pit of your stomach. His complexion is dark, his features faintly reptilian, and a sickening smile lights his face as he leads the hordes of Unlife through a battlefield filled with corpses, carrying a standard marked with a green serpent on a brown field.

Look at East Wall: Clad in shining armor, these warriors hold weapons at ready as they march doggedly to war. Many are young and enthusiastic, while others seem tired but determined. They march behind an older knight who is clad in black chain mail covered in a white surcoat, holding a white shield and carrying a standard of that white shield on a field of black.

     Altar of Luukos (Black Altar) - Serpents etched in the ice writhe over the surface of the altar, eventually leading to a larger green snake on a brown field. Many snakes are wrapped about undead beings, and every type of unliving horror imaginable is pictured. A green copper plaque has been hung from the front of the altar. The Copper Plaque reads: Luukos, God of Unending Death.

Luukos, Eater of Souls
Influence	God of Death, Lies and Undeath
Luukos is the god of unending death. Unlike Lorminstra, Luukos shows no reverence for the souls of those who have died. To him they have two uses, either to animate one of his undead minions in his efforts to extend his power, or as sustenance for himself. Luukos’ primary foods are the blood of the dead and the souls of the recently fallen. Luukos’ form of choice is that of a large green serpent. It is not unusual for survivors of a large battle to report the sighting of such a creature slithering from corpse to corpse on the recently abandoned field of combat. Luukos is able to claim the souls not only of those he takes by force through his undead minions, but also of those who have sullied themselves in life. Thus, Luukos is also the Lord of Lies, and his minions always seek to spread misinformation among mortals. Legend holds that Luukos can snatch the soul of one who has died with a lie on their lips even from Lorminstra, and that the only way to be free from his hideous jaws is to renounce the lie.
Physical Form	Luukos’ preferred humanoid manifestation is that of a dark-complected man with faintly reptilian features and a forked tongue. In manner, he is persuasive, treacherous and sadistic.
Symbol	A green serpent on a brown field.

     Altar of Voln (White Altar) - A huge white shield has been emblazoned across the top of this altar. Across the sides have been etched the faint images of souls floating upward, as if newly released from the rotting corpses beneath them. A gleaming steel plaque at the front of the altar catches your eye. The Gleaming Steel Plaque reads: Voln, Servant of Lorminstra and Freer of the Undead

Voln, the Paladin
Influence	Destroyer of the Undead
While not directly a servant of Lorminstra, Voln does owe much to her and shares her hatred of Luukos. Tales suggest that Voln's very existence is a result of Lorminstra's constant entreaties to Koar for some direct action to counter the spreading curse of Luukos' undead. Most tales attribute Voln's paternal lineage to Koar and a mortal woman. His upbringing, in a land where he witnessed loved ones lost to Luukos' curse, shaped him with an undying hatred of the undead and provided a lifelong mission. Now fully cognizant of his own immortal nature, Voln has pledged himself to the release of every soul enslaved by Luukos.
Physical Form	Voln's form is that of a man in full armor of black chainmail topped by a white surcoat and carrying a white shield. In manner, he is grim and sometimes snide.
Symbol	A white shield on a field of black.

Hall of the Seasons - Four altars stand in this room, one against each wall. The one on the east wall is tinted yellow, the south crimson, the west green, and the north black. Carved upon the walls are scenes from each of the four seasons in the cycle of the year, spring in the east blending to summer in the south, summer becoming autumn in the west and autumn fading to winter in the north. A deity presides over each scene, according to the correct season. You also see a grey stone arch.

East wall (Spring/Oleani): A bride and groom stand in a field of spring flowers. The bride is radiant, dressed in a flowing white gown and crowned with wildflowers, gazing into the eyes of her smitten groom. Before them stands a woman of unsurpassed beauty, clad in a robe of yellow satin. The ice she is carved from adds an ethereal glow to her face, catching your breath in your chest. Above the scene is a banner displaying a red heart with a budding flower growing from it.

South Wall (Summer/Phoen): This wall is covered by a huge sun. Beams of light radiate from the center, spreading a full six feet in either direction. At the source of the rays is the face of a man, strong yet gaunt, with a frame of golden hair that seems to blend into the sun's radiance.

West Wall (Autemn/Imaera): A field of wheat spans the wall, glistening gold as the sunlight hits the ice. The field is bordered by a forest of huge trees, deep but inviting, as if all of Nature was welcoming you into her arms. As your eyes take in the picture, you see that both field and forest are nestled within protective hands, and a smiling elven woman looks down onto what she holds with a tender smile lighting her lips.

North Wall (Winter/Lorminstra): The ice of the north wall has been polished to a silver sheen, as if moonlight washed across a glacial field. Standing in the middle of the field, a pair of huge ebon gates opens slightly as if to welcome you in from the cold. Standing before the gates is a woman, thin and lithe, with golden hair and alabaster skin. Robes black over white hang from her form, and at her side dangles a ring holding thousands of keys.

Grey Stone Arch (The Ebon Gate):  The stone this arch is made of is featureless, and nearly devoid of color. Atop the peak of the arch is a carving of a skeleton key. The most remarkable thing about the arch, however is that it doesn't seem to go anywhere. It simply sits in the middle of the area, and you can see right through it.

      Altar of Oleani (Yellow Altar) - Flowers of ice grow from the altar, carved with loving detail. Nests of baby birds rest in budding trees, and lovers stand beneath vine-covered arches. Across the top is carved a beautiful heart, from which a budding flower grows. A polished wood plaque has been affixed to the front of the altar. The polished wood plaque reads: Oleani, Goddess of Spring, Love, and Fertility

Oleani, Mistress of Adoration
Influence	Goddess of Love, Spring and Fertility
Oleani is the Goddess of Love, Fertility and Spring. To many, she is also considered the patroness of halflings. Her consort is Phoen, the Sun God. Called upon to bless weddings and birthings, Oleani represents the many aspects of love. Her interests range from the romantic aspects of a “respectable and proper courtship” to the sensual magnetism which may spark an illicit love affair - from the tragedy of a lover’s untimely death to the joy of a new birth. In most lands she is honored in the early spring when a celebration of new love and a ritual requesting her blessing on the fields are combined into a single holiday.
Physical Form	Oleani’s preferred humanoid manifestation is that of a woman of maddening beauty, of any race or color. In manner, she is amorous and nurturing.
Symbol	Her symbol is a red heart with a budding flower growing from it.

     Altar of Phoen (Crimson Altar) - A golden sunburst covers the top of this altar, the rays running down the sides to the floor. A burnished gold plaque has been mounted on the front of it. The burnished gold plaque reads: Phoen, God of Summer and the Sun

Phoen, the Sun God
Influence	God of the Sun, Summer and Fatherhood
Phoen is the God of the Sun and Summer. He is consort to Oleani. He is often considered the god of fatherhood, given his relationship with Oleani (the goddess of fertility), and as God of the Sun he represents the masculine side of fertility. The Sun God personifies manly power, to the point that he is often egotistical. There is more than one fable of Phoen causing harm rather than good through careless use of his great power. The warmth and light associated with the sun, as well as the fact that they are life-nurturing qualities place Phoen in direct opposition to the Dark Gods. However, more often it is the Dark Gods regarding him as such that leads to conflict, rather than his desire to oppose them. He may also face them simply as a staunch ally of Oleani’s.
Physical Form	Phoen’s preferred humanoid manifestation is that of a man nearly identical to Ronan, but with golden hair that shines so brightly as to blind mortals. The clothes he wears are golden as well. In manner he is confidant, even to the point of egotism.
Symbol	His symbol is a golden sunburst on a field of blue.

     Altar of Imaera (Green Altar) - Animals of all shapes and sizes flow across the retable and around to the front in an eternal hunt. Plants grow wild between them, covering the altar in untamed nature. A field of wheat stretches across the top, made green by the altar. A lacquered modwir plaque sits on the front. The lacquered modwir plaque reads: Imaera, Goddess of Autumn, Nature, and the Harvest

Imaera, Lady of the Green
Influence	Goddess of Nature, Harvest, Plants and Animals, Healing and Autumn
Imaera is the Goddess of the Nature and Autumn. She is also often considered the patron of the sylvan elves. While Oleani’s realm is cultivation and the fertility of mortals, Imaera’s realm is the wilds and unfettered nature. Her consort is Eonak, without whose rocky soil, no plant could grow. As the Goddess of life and growing things, hers are the plants and animals native to the land. Credited with the re-creation of most of the species on Elanthia, and with several of the human-like races, she is the mistress of shaping flesh, bone, and plant to suit any need. As such her blessing is often sought by those who practice the healing arts. Imaera is also the Goddess of the harvest and so of the bounty which the land produces in its cycle of life. While Oleani oversees cultivation and agriculture, the final blessing of Imaera is needed for the spark of life. Because of this she is often honored in autumn festivals. All of the aspects of Imaera are in direct opposition to the twisting and deformation of life forms practiced by some of the Dark Gods, and of the senseless destruction of life and land that most of their minions undertake as a matter of course.
Physical Form	Imaera’s preferred humanoid manifestation is that of a young woman, often sylvan, dressed in robes of leaves and flowers. In manner, she is exuberant.
Symbol	Her symbol is a golden sheaf of grain on a field of green when she is worshipped by farmers. The sylvan elves ascribe to her a brown doe on a field of green.

      Altar of Lorminstra (Black Altar) - Upon first glance, the altar is black as midnight save for the key of gold centered on the top. However, as you look more closely, you can see the shapes of thousands of souls swirling in the blackness, flowing up towards the nearly invisible black gates behind the key. A plaque of deepest onyx has been attached to the front.The Onyx Plaque reads: Lorminstra, Goddess of Winter, Death, and Rebirth

Lorminstra, the Gatekeeper
Influence	Goddess of Death and Rebirth, Winter and Deliverance
Lorminstra is the Goddess of Death and Rebirth. She is the eldest offspring of Koar and Lumnis. Lorminstra is also the Goddess of Winter, that annual “death” of nature which parallels the death and rebirth of souls. Lorminstra is also the Keeper of the Ebon Gate. It is her decision whether a soul is allowed to return to Elanthia each time an appeal is made via a ritual of resurrection, and even Koar will not gainsay her decision. Lorminstra regards Luukos’ enslavement of souls to animate his undead as abominable. She supports her brother, Ronan, in his struggle against Luukos’ minions, and also petitions Koar frequently to take direct measures to curb Luukos’ activities.
Physical Form	Lorminstra’s preferred humanoid manifestation is that of a thin woman with black hair and pale alabaster skin. She wears two layers of robes, black over white, and at her side dangles a ring of keys, one for every soul. In manner, she is somber yet caring.
Symbol	Her symbol is a golden key, or a golden key set upon a gate of black.

Hall of the Arts - A song seems to hang in the air of this hall, although it is difficult to tell if it is the lay of a minstrel or the song of a hammer striking an anvil. Three altars rest in this room, a brown one at the south, a gold one to the west and a grey one to the east. The walls behind the altars contain pictures of breathtaking detail, begging for closer inspection.

Look South Wall: This wall seems nearly like a window into a smithy. A huge forge sits in the background, nearly glowing within the wall's ice. In the center of the scene is a massive anvil at which works a man, short yet heavily muscled. His right arm swings a hammer down upon the anvil, and his left hand holds tongs that contain the steel he is pounding. Strangely, his left arm is made of veil iron, but it seems to cause him no hardship in his work.

Look at West Wall: The wall is a riot of colors. Jugglers toss colored balls into the air, dancers in bright rainbows of cloth whirl in complex step, and minstrels in glittering finery lift their voices in song. In the middle of the chaos stands a man, a grin lighting his face. His cloak is a mottled mass of shades and shapes, just within the boundaries of tastefulness, although from his laughing eyes it seems that he could care no less.

Look at East Wall: A man sits upon a stool, facing a half-finished painting upon an easel. He wears a smock of drab coloration, and although you cannot see his face as he paints, an aura of sadness surrounds him. The subject of his painting is a ball of purest crystal, glittering even though it is but paint on canvas.

     Altar of (Brown Altar) - The altar is a deep, rich shade of brown, seeming to glow like the embers of a near-cold forge. Emblazoned across the top is a golden anvil, wrought from the finest gold leaf. A steel plaque hangs from the front of the altar.  The steel plaque reads: Eonak, God of Craftsmanship and Labor

Eonak, Master of the Forge
Influence	God of Craftsmanship, Labor and Triumph Over Adversity
Eonak is the artificer of the gods. He is also the consort of Imaera. After the Ur-Daemon War, he took the people who worked in the stone under his wing and taught them. Thus, he is considered the patron of the dwarves. Maker of all of the fantastic items used by the gods, Eonak spends most of his time at his forge. He is more at home there than anywhere else, and at times only a decree from Koar or the soft words of Imaera can separate him from it. Often considered a strange pairing, Imaera and Eonak are each masters of crafting, although their choices of substances is vastly different. Imaera’s crafting is of living things, of cycles and seasons and balance. Eonak’s crafting is of inanimate things, yet even as Imaera’s, his creations must fulfill their purposes, achieve a balance of beauty and utility, and all, even as Imaera’s do, contain some part of him that marks them as creations of Eonak’s hand. Eonak personifies success won by hard work rather than natural gifts alone. Legends differ as to how Eonak lost his arm, but all agree that the veil iron arm he spent lifetimes crafting is the greatest piece of craftsmanship ever under taken and serves him better than the original.
Physical Form	Eonak’s preferred humanoid manifestation is that of a heavily muscled person, either a short man or a large dwarf, who wears the leather garments of a blacksmith. His left arm is missing, replaced by a veil iron prosthetic. In manner, he is impatient, surly and distracted.
Symbol	His symbol is a golden anvil on a field of brown.

     Altar of (Gold Altar) - The front of the golden altar is recessed, creating a small enclosed stage. Tiny figures of actors stand upon it, gaily dressed for their play. The top of the altar is nearly covered by a crimson lute, gold strings seeming to glitter as if strummed. A glaes plaque reflects small rainbows of color from just beneath the stage. The glaes plaque reads: Cholen, God of Humor, Festivals, and the Performing Arts

Cholen, the Jester
Influence	God of Festivals, Performing Arts, and Humor
Cholen is the God of festivals and the performing arts. The offspring of Imaera and Eonak, he is the twin brother of Jastev. Patron of celebrations and all that goes with them, Cholen is renowned for his bright demeanor, his mastery of music, song, and dance, and of his mischievous nature. All performing skills commonly seen at festivals fall within his domain, and muttered prayers to Cholen are not uncommon among jugglers, actors, and bards who frequently perform at them. The many comedies whose plots revolve around mistaken identity and cross-gender disguises owe their basis, at least in part, to Cholen’s penchant for cross-gender pranks, although his disguises are generally acknowledged as being more complete than most acting troupes could ever manage.
Physical Form	Cholen's preferred humanoid manifestation is that of a young man with summer-sun gold hair, blue eyes and a slight build. He is arrayed in fine but exaggerated clothing, and he favors a great cloak with patches of every color and shape imaginable. In manner, he is playful and mocking.
Symbol	His symbol is a crimson lute on a field of gold.

     Altar of Jastev (Grey Altar) - The altar is grey, unrelieved by other, more cheerful colors. At the four corners sit small crystal balls, glittering in the light of the room. Centered on the top of the altar is a black artist's brush. A silver plaque shines from the front of the altar. The silver plaque reads: Jastev, God of Prophecy and the Visual Arts

Jastev, the Soothsayer
Influence	God of Visual Arts and Prophecy
Jastev is the God of Visual Art and Prophecy, and is the offspring of Imaera and Eonak. He is the only God of Light whose company Charl regularly keeps, and the only Arkati who will speak to Gosaena at all. Given to a somber demeanor and periods of depression, Jastev’s knowledge of the future is a double-edged sword, giving him warning of the consequences of the actions of the Dark Gods and their followers, yet also showing him more than any being would wish to know. It is said that having foreseen the end of the world and of all that he loves causes his darker moods. It is this kinship in prophecy with Gosaena that gives him the tolerance to discourse with her. His patronization of the visual arts is also attributed to his knowledge of the future, since he encourages the preservation of each moment of beauty, emotion, or tragedy for those who will come after. Jastev is the patron of mystics and seers, and his blessing is often invoked by practitioners of the arts of foretelling. While Lumnis will provide her followers with knowledge of the skills of fishing, Jastev is not averse to giving the location of the nearest fish.
Physical Form	Jastev’s preferred humanoid manifestation is that of a pale man dressed in drab colors. His age varies from the youngest of boys to the oldest of greybeards. In manner, he is most often sad, with fits of inspiration and joy.
Symbol	His symbol is a black artist’s brush on a field of grey, or alternately, a silver crystal ball on a field of grey.

Hall of the Body - Vibrant colors fill the room, giving the impression of strength and stamina. The walls display scenes of might and glory, and altars of gold, crimson and blue sit before them, gold at the north, crimson at the east and blue at the west. A small corridor through the ice provides a passage to the northeast.

Look at North Wall: A golden pegasus flies across the sky, hooves striking flames whenever they touch the ground. His nose stretches before him, as if reaching for faster and faster speeds, and his golden tail streams behind him like a pennant of spun gold. On the ground runs a lithe young man, keeping stride with the winged horse, a messenger pouch thrown over his shoulder.

Look at East Wall: Here, two men are engaged in a wrestling match. The apparent loser is unremarkable in his appearance, but the winner holds your astounded gaze. Although young, his body is massively developed, and you cannot find a bit of excess weight upon his frame. He wears light armor, and grins broadly as he toys with his opponent.

Look at West Wall: A storm rages across the wall, lightning striking into a roiling sea. The wreck of a ship is tossed in the angry waves and wind-driven rain whips heartlessly at a few sailors clinging to the wreckage. Superimposed on the storm is the form of a man, eyes flashing with rage. His beard is made of seaweed and algae, and the lower half of his body is the tail of a fish. He clutches a mighty trident in his hand as he brings the storm to a new fury.

     Altar of Tonis (Gold Altar) - Winged horses in swift flight flow over the sides of the altar. Looking more closely, you see that the altar is truly blue, but the thousands of wings and hooves of gold make any other color difficult to see. The top of the altar, however, is a stunning azure with a great winged horse emblazoned across it. A golden ora plaque is embedded into the face of the altar. The golden ora plaque reads: Tonis, God of Speed, Travel, and Thieves

Tonis, the Fleetfooted, King of Thieves
Influence	God of Speed, Travel and Thieves
Tonis is the messenger of the gods. He is the only offspring of Phoen and Oleani. He is renowned for his speed, and for the shape he commonly chooses when on an errand. Even more frequently than his humanoid form, Tonis takes on the form of a golden pegasus whose hooves strike flames from the sky. Tonis is also worshipped by thieves. Myths of his speed and daring spur his worshippers on to perform similar feats, and it is the skill and daring of their acts that motivates them more than the trinkets they take. In battle, Tonis can slay an army in a few moments by rushing among them and snatching the breath from their mouths.
Physical Form	Tonis’ preferred humanoid manifestation is that of a lithe young man dressed in a simple tunic carrying a messenger’s pouch across one shoulder. In manner, he is hyperactive and childlike.
Symbol	His symbol is a golden pegasus on a field of blue.

     Altar of Kai (Crimson Altar) - The shapes of every weapon you can imagine have been carved into the altar. Swords great and small, morning stars, flails, maces, halberds and some weapons you do not recognize are displayed over the sides, creating a miniature armory. Across the top is raised an arm of silver, hand clenched into a mighty fist. A mein plaque hangs from the front. The mein plaque reads:  Kai, God of Strength, Athletic Prowess, and Skill at Arms

Kai, Master of Battle
Influence	God of Strength, Athletic Prowess, and Skill at Arms
Kai is the God of Physical Strength and Athletic Prowess. He has been beaten once in armed combat by Koar, and fought once to a standstill against V’tull. Beyond these two instances, every opponent Kai has faced has fallen before him. Legend holds that in the Ur-Daemon War, Kai slew more of the enemy than any Drake did, despite their awesome might, and is the only Arkati who participated in that war to have survived. Kai’s joy of physical combat is such that only Koar’s injunctions keep him from constant battle with the Gods of Darkness. As an alternative he often roams Elanthia looking for unsuspecting mortals to toy with in physical “contests” of one sort or another. Kai’s blessing is often invoked at contests of physical prowess.
Physical Form	Kai’s preferred humanoid manifestation is that of a young man of epic build with strong and carefree features. Kai is always dressed in light armor and is never without a weapon of some sort. In manner, he is carefree, brave and aggressive.
Symbol	His symbol is a silver arm with fist clenched, on a field of crimson. His clerics name their maces, cast in the same shape, the Fists of Kai.

     Altar of Charl (Blue Altar) - The altar is nearly translucent, reflecting the sunlight in its nearly watery surface. Fish and great sea mammals swim over the surface, the calm of the scene contrasting the picture on the wall behind it. An emerald trident seems to float just beneath the top of the altar, and a plaque of silver is clutched in a piece of coral at the base of the platform. The silver plaque reads: Charl, God of Storms and the Ocean

Charl, Lord of the Seas
Influence	God of the Oceans, Storms and Revolution
Charl is the God of the Sea. Living apart from his brethren, he dwells constantly in the seas of Elanthia, joining the other Gods only when Koar commands. Legend holds that Koar once had to send for Charl six times before he appeared. When Koar demanded to know why he was so disobedient, Charl replied that he was always the most obedient of Koar’s servants, but that the waters of the six oceans of the world flowed through his veins, and none could come without the others. Charl is a dark and violent god, and is renowned for his drastic mood swings. He cares little for the land dwelling races on Elanthia, and is as likely to swat a nearby ship with a storm as he is to let it pass untouched. Because of this he is feared by seamen, and few pray to him for fear they might attract his attention. For the same reason clerics serving Charl, although seldom welcome, rarely come to harm in any place frequented by seamen. He is also the god of storms of all sorts, and more than one despotic tyrant, overthrown by an angry mob marching under a stormy sky, has sworn that it was Charl’s hand that laid him low. Some clergy contend that Charl is at heart a God of Darkness. Still, there is little doubt that he swears fealty to Koar, and for that reason, if for no other, he is numbered with the Gods of Light.
Physical Form	Charl’s preferred humanoid manifestation is that of a towering man with a beard of seaweed and algae, blue and grey robes, wielding a trident. Charl rarely appears except in the sea or the heart of a storm. His lower half is a fish’s tail. In manner, he is stern, angry and quick-tempered.
Symbol	His symbol is an emerald trident on a field of blue.

Hall of the Mind - An aura of tranquility sits over the room. Stars twinkle on the south wall, comforting as they sparkle in the blackness, while the north wall glows a pearlescent grey the color of the moon behind mist. A black altar sits before the starry sky, and a grey altar seems to fade out of the misty wall.

Look at South Wall: Thousands of stars seem to wink and twinkle out of a night sky. As your eyes stop trying to see each individual star, you begin to see the gaunt face of a man, eyes half closed, looking out of the night and into your eyes.

Look at North Wall: The wall shines a pearly grey, as if the moon was behind a bank of mist. Out from the mist steps a woman, mature in years, dressed in a grey robe that blends into the fog below. Her hair is long and black, with a single lock of grey at her forehead. Her face is wise and serene, and her eyes seem to contain the mysteries of the universe.

     Altar of Ronan (Black Altar) - The altar is completely black, almost seeming to absorb the light into itself. The only color is the faint silver outline of a sword across the top. An onyx plaque can barely be seen on the front of the altar. The onyx plaque reads: Ronan, God of Night, Sleep, and Dreams

Ronan, Lord of Dreams
Influence	God of Night and Dreams
Ronan is the God of Night. He is master of sleep and dreams, and guardian against those who would violate the peaceful respite of that other world. Ronan is perhaps the most active foe of the Dark Gods. Ronan is the darker twin of Phoen, and it is said that the two, being night and day, cannot come together in the same place. Given their avoidance of light and their use of darkness as a cloak to cover their activities, Ronan finds the Dark Gods trespassing in his realm quite regularly. Ronan and Sheru are in constant conflict since they both regard the night and sleep as their rightful territories. Luukos also mounts a constant assault on Ronan’s realm with those who have failed to die cleanly and are now subject to his curse.
Physical Form	Ronan’s preferred humanoid manifestation is that of a gaunt man with heavy-lidded eyes and a mysterious smile. His eyes are without whites, leaving deep black pools broken only by a faint grey swirl. He dresses only in black, and even the steel of his weapons is black. In manner, he is sleepy and sardonic.
Symbol	His symbol is a black sword with a silver edge on a field of black.

     Altar of Lumnis (Grey Altar) - It almost seems as if the altar is made from mist. Atop it are five conjoined circles colored red, blue, black, green, and white. Over these, a golden scroll has been laid, although you cannot read the language the scroll has been scribed in. An imflass plaque rests at the front of the altar. The imflass plaque reads: Lumnis, Goddess of Wisdom and Knowledge

Lumnis, Queen of Enlightenment
Influence	Goddess of Wisdom and Knowledge
Lumnis is the Goddess of Wisdom and Knowledge, and the wife of Koar. She is not considered the “Queen” of the Gods, however. She gives counsel willingly, even to the Dark Gods, but never commands. Lumnis’ power lies in her understanding of the interrelationships of the Spheres of Knowledge (Elemental, Spiritual, Chaos, Order and Planar) and her intuitive grasp of their intricacies. Able to accomplish feats that leave even Koar amazed, she wields her knowledge with the style of an artist. She is worshipped by scholars and practitioners of the arcane arts who explore the boundaries of their knowledge with a wonder and respect of the powers they discover. Her wisdom is also sought by fortune-tellers and all in need of guidance. Lumnis will never give an answer outright, however. She would rather advise and guide, allowing those who seek aid to find the answer on their own. She regards Fash’lo’nae’s approach to knowledge as ultimately self-destructive and unconscionable. Her disapproval of knowledge for personal gain or power is such that she has been attributed with the sudden disappearance of several notably power-hungry magic users over the centuries.
Physical Form	Lumnis’ preferred humanoid manifestation is that of a mature woman in gossamer robes of light grey, so long that her feet are never seen and the hem is lost in distant mists. Her hair is black with a single shock of grey at her forehead. In manner she is serene, and even in anger she is more a disappointed mother than a raging goddess.
Symbol	Her symbol is a golden scroll overlaying five conjoined circles, the circles being red (Planar), blue (Spiritual), black (Chaos), green (Elemental), and white (Order) - symbolizing her mastery of the Spheres of Knowledge.

Hall of the King - Sunlight shines through the ice, nearly blinding in intensity. One altar of pure white sits in the center of the room, in front of a massive mural on the north wall. An intense energy flows through the room, as powerful in its own way as the sunlight.

Look at North Wall: A man sits upon a massive throne. He is huge, with flowing grey hair and beard, shaggy brows and a forehead deeply creased with thought. His eyes are weary and brooding, and a gold crown sits upon his head. The sunlight has been directed through this wall, making him shine with golden light. He radiates power and command, and you cannot fight the sense of awe that sweeps through you.

     Altar of Koar ( White Altar) - It is impossible to divine what substance this altar is made from, for you have never seen a metal or stone so pure a white. Emblazoned across the top of the altar is a magnificent gold crown, a profound symbol of leadership and command. A vultite plaque has been attached to the front of the altar. The vultite plaque reads: Koar, King of the Gods

Koar, King of the Gods
Influence	God of Justice, Loyalty and Law
Koar is the King of the Gods. Once, he ruled all the Arkati and he is still the titular head of both the Light and Dark Gods. In practice, however, his direct control is only over the Gods of Light. Not since the fall of the Drakes in the Ur-Daemon War has Koar rallied all the gods to him, and none knows for sure if he could unify the Arkati no, no matter the cause. Still, it is said that as long as Koar lives, the Gods of Light and Dark will never face each other in open war. Legend holds that Koar sits on a great throne carved from the stone heart of the world extending up through the tallest mountain in Elanthia. He rarely leaves his throne, and spends most of his time slumbering or brooding. Even when he sleeps, one eye is always slightly open, and while Koar may not intervene in the affairs of gods or mortals often, there is little that escapes his notice. The sages say that the mountains of Elanthia rise and fall as Koar’s brow furrows. One day, it is said, when the Gods of Darkness no longer vex their king, and when mortals no longer wage petty wars, the mountains will sink back into the ground and all the world will be a fertile plain. Earthquakes are attributed to Koar shifting restlessly, and before Koar’s brow is smoothed, legend holds he will rise from his throne in wrath, shaking the greatest fortresses to rubble. The prophecy is silent as to who or what will be the object of his ire. Some common folk believe that Koar is not an Arkati, but actually the last of the Great Drakes. No one living can confirm this notion, however. Koar’s blessing is often invoked during coronation ceremonies, and it is not uncommon for rulers to claim that their particular right to reign bears Koar’s approval.
Physical Form	Koar’s preferred humanoid manifestation is that of a huge man upon a throne, wearing a gold crown, contemplating the fate of all things. In manner, he is commanding, detached, or weary.
Symbol	His symbol is a golden crown, often set on a circle of white.

The Gods of Darkness

(Arkati of Lornon)

Hall of the Rivals - Tension fills the air in this octagonal chamber. Two ice statues of women, both beautiful beyond belief, stand at opposite sides of the room. The one to the east bears a plaque with "The Huntress" enscribed on it. She seems to watch the statue at the west, which has a plaque enscribed with "Arachne" set into the base. Upon the eight walls are scenes of different colors that seem to tell a story, beginning with a wall tinted purple. Two altars, one red and one black, sit in the center of the room.

Look at east statue(Huntress): The statue's face is a mask of carefully controlled anger. Her eyes perpetually stare at the other statue and her lips are set in a tight line. She has the frame of a fighter, and holds a scythe at the ready in her right hand.

Look at west statue(Arachne): A cocky smirk sits on the statue's face. She seems to be taunting her rival across the room, leering condescendingly in that direction. Her frame is lithe and lean, obviously used to the dance of battle.

Look at purple scene: This scene is divided into four parts. The first three depict the Huntress, a human still, saving the life of the King three times with heroic actions, risking her life to save his. In the fourth, she kneels before her sovereign, accepting the honor of being made his guardian. In the shadows, the Queen and her bodyguard Arachne look on in jealousy. By the way they are whispering, they seem to be plotting. A golden arrow points to the indigo scene.

Look at indigo scene: The plot has reached fruition. Carefully the Queen slips a potion into the Huntress's drink, sending her into a deep sleep. Arachne plants a dagger in the Huntress's hand, then raises the alarm, accusing the Huntress of attempting to kill the King. The Huntress is arrested and thrown into the dungeons. A golden arrow points to the blue scene.

Look at blue scene: The Huntress stands in chains at her trial. The Queen and Arachne testify against her, and the King is moved by their speeches. Only a lone guardsman is willing to stand up for the Huntress, but it does no good. She is banished to the desert, clad in a black death-shroud with only two day's worth of water. A golden arrow points to the green scene.

Look at green scene: Tired and dehydrated, the Huntress stumbles through the desert until she finds a cave in an outcropping of rocks. Entering, she finds a hoarde of immense spiders. Fighting bravely she kills them, then drinks their blood to ease her thirst. But the blood is poison, and finally she slips into death. The spiders, impressed by her prowess, build an altar for her, and lay her body upon it. A golden arrow points to the yellow scene.

Look at yellow scene: The Huntress's soul rises from the mortal realm to the stars, where she consulted with the gods. She swears her revenge to them, vowing to repay those who wronged her. Eventually she awakens to share her story with the arachnids, who vow to aid her plan. Silently, she steals back to the city. A golden arrow points to the orange scene.

Look at orange scene: A militia of citizens has been formed to protect the city. Not wishing to slay innocents, she steals a scythe and creeps into the castle. Efficiently, she kills the King's eight sons, and then the King himself. But the guards set upon her, forcing a retreat into the dungeons. The dungeons contain a surprise. The guardsman that attempted to defend her has been imprisoned there since the trial, as has Arachne for her knowledge of the truth. A golden arrow points to the red scene.

Look at red scene: The guardsman tends the Huntress's wounds, while Arachne begs the Huntress for forgiveness. Together, they go to slay the Queen. But as the Huntress kills her, Arachne stabs the Huntress and the guard as well. Angered, the guardsman stabs Arachne, and they all fall to the floor, mortally wounded. Unwilling to face death, Arachne bends to drink the immortal blood of the Huntress. As she drinks, she is bitten on the lip by a black widow spider. A golden arrow points to the black scene

Look at black scene: The Huntress, her oath complete and her divinity assured, rises to the heavens and takes her place amid the stars. The faithful guardsman follows, ever to protect her in the night sky. However, the venom of the spider works within the blood swallowed by Arachne, twisting her now-immortal form into that of a giant spider. Thus the eternal rivalry was formed, to rage across the lands.

     Altar of Arachne (Red Altar) - The altar is the color of slightly-dried blood. Behind it is a spiderweb, its messy construction identifying it as the lair of a black widow spider. The arachnid looks at you from the strands, mirroring the large spider painted across the top of the altar. A silver plaque sits between the forelegs of the painted spider. The Silver plaque reads: Arachne, The Betrayer, Goddess of Spiders and Betrayal

Arachne, the Betrayer
Influence	Patroness of Spiders and Betrayal
Arachne is the patroness of spiders and betrayal. She is the dire enemy of the Huntress, who she betrayed while both were still mortal. Arachne was once the bodyguard of a great queen who became jealous at her husband’s bodyguard’s beauty. The queen enlisted Arachne’s help to bring the Huntress. Arachne slipped a sleeping potion into the Huntress’ drink then, when the Huntress had fallen asleep, planted a dagger in her hand and claimed that the Huntress had come to kill the king. When the Huntress was exiled, Arachne was thrown into the dungeons for her knowledge of the queen’s treachery. When the Huntress returned to exact her revenge, Arachne fell to her knees and begged forgiveness, although she was hardly sorry. She was jealous of the Huntress’ new status as an immortal, and wished some of this power for herself. This became obvious when, as the Huntress struck the queen dead, Arachne in turn murdered the Huntress. As Arachne bent to drink of the immortal blood, a black widow spider bit her on the lip and mixed with that power to create a spider-faced creature that would become a cult-worshipped goddess.
Physical Form	Arachne’s preferred humanoid manifestation is that of a woman with the frame of a fighter dressed in blood-stained leather armor, although most often she appears as a giant spider. In manner, she is cocky and condescending.
Symbol	Her symbol is a black widow spider on a field of red.

     Altar of The Huntress (Black Altar) - The altar is of the deepest black onyx, covered in the finest, most delicate of spiderwebs. Inset in the top is an eight-pointed star of pure silver, strangely untarnished after all this time. An onyx plaque is snared in the webs. The onyx plaque reads: The Huntress, Goddess of Vengeance

The Huntress
Influence	Patroness of Vengeance and The Hunt
The Huntress is the patroness of vengeance and the hunt. She is the dire enemy of Arachne, and often comes into conflict with Eorgina. She is not an Arkati, but an immortal spirit. Once mortal, the Huntress was granted her immortality by an unknown deity, be it Arkati or other. She once was the bodyguard of a great king, but ran afoul of the king’s wife. The queen was jealous of the Huntress’ beauty, and enlisted the aid of the Huntress’ second Arachne, the bodyguard of the queen, to bring the Huntress down. In a vile plot, the Huntress was convicted and exiled to death in the deserts. But the Huntress survived, if only barely, and under the influence of arachnid poison experienced a religious epiphany which made her immortal. Swearing revenge upon the queen, she returned to the city from which she had been exiled to make things right. She found Arachne in the dungeons, and reconciled with her. Together, they moved to the bedchambers to slay the queen. But when the Huntress struck the killing blow, Arachne in turn betrayed the Huntress by killing her, and bent to drink the immortal blood. A black widow spider bit Arachne upon the lip, turning her into a horrid spider-faced creature.
Physical Form	The Huntress’ preferred humanoid manifestation is that of a woman of surpassing beauty dressed in silver chainmail. Her face is always a mask of carefully-controlled anger, and she always holds a scythe at the ready. In manner, she is quiet and angry.
Symbol	Her symbol is a silver eight-pointed star on a field of black.

Hall of those Beyond - Eerie light fills the hall, making you wonder for a moment if you are in the world you know so well. The murals on the east and west walls, filled with images of insanity and terror, do not help to reassure you that you remain on familiar ground. A grey altar sits before the west wall, and a black altar sits before the east wall.

Look at West Wall: A legion of demons stares back at you, sending a shudder of fear through your body. At the head of the army is a creature like you have never seen and hope to never see again. His skin is a glistening black, and leathery wings droop from his back. Cruelly barbed tentacles branch out from his body, waving in a vicious dance about him. The look on his face is one of utter cruelty.

Look at East Wall: The moon has just risen over the horizon. Within its orb is the face of a woman. Her hair blows wildly about her face, and her green eyes are wide with undisguised insanity. You look away, getting the feeling that looking into her eyes too long would drive you as mad as she is.

     Altar of Marlu (Grey Altar) - The altar seems to be covered in thousands of leathery grey wings, folded tightly about something. Between the wings on the top of the altar sprout six black tentacles, laying over the surface in the shape of a six pointed star. A rotting modwir plaque hangs from the front of the altar. The rotting modwir plaque reads: Marlu, God of Destruction and Demons

Marlu, the Destroyer
Influence	God of Demonic Summoning, Destruction and Power
Often mistaken for one of the greater demons and frequently called the Demon Lord, Marlu delights in death, destruction, and the devouring of still-living prey. Tales tell of Marlu being seen around ancient ruins, prying open old chambers and delving into all manner of spaces. Common legend has it that he seeks others of his kind to loose upon the innocents of Elanthia. Just as some believe Koar is actually the last Drake, there are those who hold that Marlu is a true Ur-Daemon who sought asylum with the Arkati when the rest of his kind were killed or driven out of this realm of existence. Marlu derives power from the summoning of demons, one reason that such practices are frowned upon by many worshippers of the Light Gods. Whether his power comes in the same manner as other Arkati, or from the loosening of the portals between dimensions, is unknown. Marlu is also drawn to all manners of destruction. More than any other of the Dark Gods, Marlu seems bent on destruction of a scale so massive that it might actually eliminate the world and all his worshippers with it. While Eorgina personifies power over others, Marlu is the embodiment of personal destructive power.
Physical Form	Marlu’s preferred manifestation is that of a gruesome creature with glistening black skin, leathery wings and barbed tentacles. In manner, he is demonic.
Symbol	His symbol is a black six tentacled “star” on a field of grey.

     Altar of Zelia (Black Altar) - Black as a starless night, the altar seems to be a well of quiet insanity. A crescent of silver lights the top, as if a waxing moon hung in the darkness. A tarnished silver plaque sits at the front of the altar.  The tarnished silver plaque reads: Zelia, Keeper of the Moon

Zelia, Keeper of the Moons
Influence	Goddess of the Moons and Insanity
Zelia is a lunatic in the purest sense of the word. Goddess of the moons and of insanity, the only thing consistent about her is that she is inconsistent, and is completely out of her mind. Zelia may be chaos personified. Once a great lover of solitude, it is said that the Arkatis’ move to the moons at the Drakes’ behest was her undoing. It is not known, however, if it was the invasion of her privacy or the loneliness that may have ensued after her peers left for Elanthia that unseated her sanity. Whatever the case, she now takes a personal hand in the affairs of the mortal world, just as the other Arkati, blessing her followers with what she considers the greatest freedom of all: freedom from lucidity. Zelia has a great dislike for Sheru. She feels that his tactic of scaring a person into madness is classless and brute-like, lacking a great deal in finesse and understanding of mortal mentality. There are much better ways to drive someone over the edge. She drives a misty chariot pulled by grey stallions, looking for people in need of her gift.
Physical Form	Zelia’s preferred humanoid manifestation is that of a woman with large green eyes and silver hair that always seems to be blowing wildly about her face. There is no trace of sanity anywhere in her expression, and she wears a silver breastplate and grey tunic. In manner, she is unpredictable and insane.
Symbol	Her symbol is a silver crescent moon on a field of black.

Hall of those Outside - The feeling that you are being watched slowly creeps over you. While you notice the man depicted on the west wall studying you, you cannot help but feel that there is something more. Glancing upwards, you realize that a mural has been created on the ceiling, and golden eyes look at you from there. A grey altar sits before the west wall, and a red altar rests in the center of the room.

Look at West Wall: A man sits at a table that is covered in books. A large tome sits open before him, but instead of reading it, he seems to be studying you, assessing what you are worth in knowledge. Frighteningly, you get the idea that he is willing to take whatever means necessary to learn what he wants.

Look at Ceiling: A great black panther crouches, watching your every move. He is completely still, although you realize that were he real, his tail would be twitching and lashing in the manner of a stalking cat. Golden eyes shine in the darkness of his fur, highly intelligent and observant.

     Altar of Fash'lo'nae ( Grey Altar) - Chaotic threads of shimmering glaes wind through the altar, looking like magical energy winding through the mists. At the top of the altar, the lines coalesce and shift in color to yellow, gathering into a slit-pupilled eye. A glaes plaque rests at the front of the altar.  The glaes plaque reads: Fash'lo'nae, God of Magic and Forbidden Knowledge

Fash’lo’nae, the Grandfather
Influence	God of Magic, Forbidden Knowledge and Libraries
Fash’lo’nae, is the master of magic and arcane knowledge for its own sake. He regards the pursuit of esoteric knowledge as an end in itself, and the societal or other impacts of that pursuit are of no consequence. Even the gaining of knowledge for personal gain is not a goal, other than as it may make further inquiries, investigations, and experiments possible. Theft, dishonesty, and even murder are acceptable if they further the acquiring of knowledge, particularly arcane or mystical knowledge. While Fash’lo’nae is certainly frowned upon by many, most do not consider him strictly "evil." In fact, he is credited in several legends with spreading beneficial knowledge that others (such as the Drakes and the other Arkati) would have suppressed. It is generally agreed that Fash’lo’nae brought fire to the mortal races, suffering the wrath of the Great Drakes, although there is dispute as to his motive in doing so. Many call Fash’lo’nae “The Grandfather,” and his followers contend that he is the eldest of the Arkati, even older than Koar himself. Followers of Fash’lo’nae are a hazard to all about them, since they consider the risks of demon summoning as a paltry price to pay for the potential of increased knowledge.
Physical Form	Fash’lo’nae’s preferred humanoid manifestation is that of an ancient man or woman of scholarly bent. In manner, he is cool and calculating.
Symbol	His symbol is yellow, slit-pupilled eye on a field of grey.

     Altar of Andelas ( Red Altar) - The sinuous forms of felines great and small stalk over the altar, chasing invisible prey. The greatest of the cats is a panther, climbing over the left side of the altar. His position places his head at the top, emblazoning it across the field of red. An onyx plaque seems to dangle from his claw.  The onyx plaque reads: Andelas, God of Felines and Hunting

Andelas, the Cat
Influence	God of Felines and Hunting
Andelas is the lord of cats, and so is different to some degree from the rest of the dark gods. In fact, were it not for his decidedly sadistic nature, it could be argued that Andelas is not really ‘evil’. Followers of Andelas form cat cults, and idolize felines to the point of reenacting the stalk, the hunt, and the kill (complete with costuming, fangs, and claws). Andelas’ influence is revealed in that the quarry in the reenactments are most often members of one of the humanoid races. Unfortunately, they are rarely as enthused about their own participation as the members of the cult are. It is rumored that Andelas has an avatar that walks the land known as The Claw of Andelas.
Physical Form	Andelas generally appears as a great cat. In human form, however, he retains his catlike quality, from his eyes to his unusually sharp fingernails. In manner he is much like a cat, either playful, sadistic or completely indifferent.
Symbol	His symbol is a black cat’s head on a field of red.

Hall of theWounded Heart - Two altars sit in the room, one red and one white. On the east wall, pictures swirl that make you blush, uncomfortably embarrassed at what they suggest. The west wall, however, only holds a pair of gilded shackles which dangle, gleaming in the light.

Look at East Wall: This wall looks in on a bedroom. While you cannot say that the activities shown on the wall are obscene, they do hint at things that make your skin burn with a hot blush. At the back of the room stands a woman of beauty like you have never seen, despite the fact that for arms she has tentacles. Her lips are full and red, the slight smile playing across them hinting at sharklike teeth beneath.

Look at Shackles: The shackles of gold-gilded steel hang from the wall. As the light shines off them, you begin to see the form of a man locked in them, the scars on his wrist evident beneath the cuffs of his simple silk robe. He is young, with delicate features, his soft lips twisted in what is either a grimace of pain or a smile of ecstasy, although you cannot be certain which.

     Altar of Ivas (Red Altar) - The altar is made of clear red ice. Flowing up through the middle is a wisp of green smoke, seeming to move and undulate seductively within the ice. A gold plaque gleams from the front of the altar.  The gold plaque reads: Ivas, Goddess of Lust and Passion

Ivas, the Seductress
Influence	Goddess of Desire, Lust and Passion
Ivas is the Goddess of seduction. Possessing a pair of tentacles where most humanoid beings have arms, and with full, sensuous lips hiding a maw filled with shark’s teeth, Ivas cloaks herself in illusion. She appears to the unwary as a woman of unearthly beauty. Preying on those willing to be seduced, Ivas thrives on the jealousy, distrust, and hatred that results. Often times marked by rotting diseases that defy all cures, her adherents form cults which revel in perverted carnal pleasures. However, their primary goal is the seduction of unwary outsiders.
Physical Form	Ivas’ preferred humanoid manifestation is that of a beautiful woman with tentacles in place of arms. In manner, she is sensual and insatiable.
Symbol	Her symbol is a stylized, green wisp of smoke on a field of red.

     Altar of Mularos (White Altar) - Images of ropes and chains twist about the altar, winding in a dance that confuses the eye and mind. Across the top of the altar is a heart of deep red, a dagger piercing it cruelly. A plaque of steel has been set into the altar.  The steel plaque reads: Mularos, God of Suffering and Torture

Mularos, the Suffering
Influence	God of Suffering and Torture
Known as “He who is the Sorrow of the World,” Mularos is the god of suffering, both physical and emotional. He draws the most strength from pain inflicted by others. While Mularos is not worshipped by any formal church, cults to him have surfaced from time to time. These are most often collections of sadomasochists, often led by a charismatic but twisted leader. These cults seduce young followers with a decadent and reassuring lifestyle, then bend their minds to dependent love and strict obedience. While the usual end result is mass suicide, it is rumored that such cults have lasted for centuries. At times Mularos seems to revel in causing pain, but he feels the pain of mortals at the same time as he draws strength from it. In a sense, he is a victim of mortals as much as they are victims of him.
Physical Form	Mularos’ preferred humanoid manifestation is that of a young man of delicate features dressed in simple silk robes. Often a glimpse of the scars left by manacles can be seen at the hem and sleeves of his robe, or the bloody mark of a lash below the collar. In manner, he is charming, alternately dominant and submissive, sadomasochistic and sad.
Symbol	His symbol is a heart with a dagger piercing it on a field of white.

Hall of the Deathbringers - The faint light coming through the ice is a filthy black-red. Covering the east wall is a scene of carnage so bloody that the gorge rises in your stomach at the sight, and an altar the color of blood sits before it. Death has also visited the west wall, with its black altar before it, although it is a much quieter manifestation.

Look at East Wall: The scene on this wall seems to look directly into what remains of a great battle. Corpses and body parts cover the field in varying stages of dismemberment and the ground is red with spilled blood. In the center of the picture is a man, taller than any you have seen. His skin is marble white, and his eyes are black as coal. His armor is so stained with blood that you cannot guess what its true color might be.

Look at West Wall: A single corpse lays sprawled across the floor. His throat has been slit, and the look on his face is one of absolute surprise. In the shadows is the form of a man, lithe and long, although you can see none of his features.

     Altar of V'tull (Red Altar) - A black scimitar has been painted on the top of the altar. Red blood seems to drip from it, covering the altar in a wave of red crimson that appears to be all the blood the sword has ever shed. A steel plaque gleams at the front of the altar.   The steel plaque reads: V'Tull, God of Blood Lust and Combat

V’tull, the Berserker
Influence	God of Combat and Bloodlust
V’tull is the champion of the dark gods Almost single-minded in his goal of bloodletting for its own sake, the sight of the life’s blood of any creature seems to fill V’tull with ecstasy. Given his nature, he has spent all of his efforts in perfecting his fighting abilities and in using them at every opportunity. While all of the gods rarely manifest themselves among mortals, V’tull does so more often than most. He regularly enters into the bodies of warriors, whose eyes are said to turn black as night when this happens, and turns them into killing machines. His willingness to divinely inspire assures that his devotees among the martial classes are many, even where his worship is prohibited by those who fear their warriors will turn against them.
Physical Form	V’tull’s preferred humanoid manifestation is that of a man with marble white skin and coal black eyes who towers over everyone he meets. He is always dressed in armor so stained with blood that its true color cannot be known. In manner, he is determined, righteous, obsessive and vengeful.
Symbol	His symbol is a black scimitar on a field of red.

     Altar of  (Black Altar) - Sinuous garrotes wind their way across the surface of the altar, twining around thin assassin's blades and other weapons of quiet death. Across the top is drawn a white skull, broken in several places. A plaque of bone sits at the front of the altar.   The bone plaque reads: Onar, Assassin of the Gods

Onar, the Assassin
Influence	Patron of Homicide
Onar is known as the Assassin of the Gods. Most often working at the behest of Eorgina, Onar is professionally cold and calculating. He never chooses a target without a reason. His services are used whenever a single death will achieve Eorgina's ends. Onar also serves the other Gods, but always at a price. What coin can pay a God is not for mortals to guess at, but the Dark Gods seem to use his services regularly against mortals who cross them. In many courts of law, possession by Onar is a defense to a charge of murder. Such possession can usually be detected by the presence of a skull marking somewhere on the body of the one possessed.
Physical Form	Onar's true form is unknown, as he acts almost exclusively through the hands of others. In manner, he is cold-blooded and emotionless.
Symbol	His symbol is a broken white skull on a field of black.

Hall of the Dark - Almost no light from the surface reaches this room. What does, comes from the walls in a sickly grey glow, sending chills down your spine that have nothing to do with the cold in the air. Two altars, gold to the south and grey to the west, relieve the black in the room, and detailed murals grace the walls behind them.

Look at South Wall: The south wall is completely black. As you turn away, you catch the image of a large man with a black furred hyena head fading out of the darkness, watching you with an intense gaze. The feeling of being watched brings goosebumps of irrational fear over your skin, and you realize that bearing his gaze for too long would drive you slowly and painfully mad.

Look at West Wall: A beautiful queen sits upon a throne of deepest obsidian. Her clothing is rich velvet, and the finest jewels deck her form. The look on her face is coldly calculating, with only a smirk to hint at the arrogance beneath the mask.

     Altar of Sheru (Gold Altar) - The altar is made of the purest, most beautiful gold you have seen in all your days, save for the black hyena's head across the top. You reach out to touch the altar, and cannot seem to pull your hand away. You must have the altar. You want to take it with you, to keep it. A chill passes over you and you blink, frightened at the obsession that so suddenly overcame you. A green copper plaque seems to rot at the front of the altar. The green copper plaque reads: Sheru, God of Night, Terror, Insanity and Nightmares

Sheru, Bringer of Terror
Influence	God of Night, Nightmares, Insanity and Terror
Sheru is the god of night and nightmares. Truly the god of terror, and of unbridled fear, Sheru thrives on these emotions in lesser creatures. Only experiencing satisfaction when his efforts unseat a being’s sanity, Sheru will use any means to achieve this end. Because Luukos’ undead minions tend to cause more terror than most of the other creatures of darkness, Sheru and Luukos are allied more often than any of the other Dark Gods. The insane are often said to have received Sheru’s Gift. Strangely, Sheru and Zelia cannot stand each other, despite serving each other’s ends quite nicely.
Physical Form	Sheru’s preferred humanoid manifestation is that of a large man with a black furred jackal’s head. In manner, he is cold, emotionless, and cruel.
Symbol	His symbol is a black jackal’s head on a field of gold, or alternately, a black jackal’s head on a field of crimson and gold.

     Altar of Eorgina (Grey Altar) - Intricate crowns, coronets, and scepters decorate the altar, which looks almost like a backless throne. Across the top, stylized flames burn, bright red seeming to burn out of the grey. A gold plaque shines from the front of the altar. The gold plaque reads: Eorgina, Goddess of Darkness, Domination, and Tyranny

Eorgina, Queen of the Dark
Influence	Goddess of Darkness, Domination and Tyranny
Eorgina is the Goddess of darkness and ruler of the dark gods. She bestows upon herself the title of Queen of the Gods and works toward the end of taking the places of Koar and Lumnis, or at the least replacing Lumnis at Koar’s side. It is incomprehensible to her that Lumnis does not claim the title of Queen of the Gods, as the thought of not taking power where it is offered is beyond Eorgina’s understanding. The Queen of Darkness personifies the unrestrained power of tyranny and draws strength wherever one being dominates another, be it a despot with no regard for justice or a stepmother with no love for her husband’s children. Ironically, her worshippers often include those who have been wronged by tyranny and seek the revenge of returning the favor.
Physical Form	Eorgina’s preferred humanoid manifestation is that of a beautiful queen wearing the richest and most beautiful of velvet robes and weighed down with lavish jewelry. In manner, she is cruel and destructive with a veneer of royal bearing.
Symbol	Her symbol is red, stylized flames on a field of grey.

Shrine of Laethe - A small niche has been carved into the old stone wall, and is surrounded by dried flowers and small folded notes.

Laethe, the Lovelorn
Influence	Patron of Young Love and Lost Love
Laethe, patron of young love and especially lost love, is the twin brother of Voaris. Where his brother watches over those whose love is forbidden, Laethe watches over those whose love is lost. While Voaris took his parents’ passing with a calm acceptance, Laethe never truly learned to cope with their death. Thus, he has an intimate understanding of the pain associated with a loved one gone from one’s life. He works to aid them in whatever way he can, even if it is only to put them at peace with their loss. Traditionally, worshippers leave notes with their prayers for the hopeful return of their loves in the shrines dedicated to Laethe.
Physical Form	Laethe’s preferred humanoid manifestation is that of a young man with black hair, fair skin and sorrowful blue eyes. He most often dresses in plain black attire, unadorned by any jewelry or decoration. In manner, he is compassionate, caring and sad.
Symbol	His symbol is a black rose on a field of purple.

Look at Niche: This appears to be a shrine to Laethe, the patron Arkati of young lovers. Notes left at this type of shrine traditionally contain prayers for the return of lost lovers.

To get there from TC: West 5 blocks, South 2 blocks

Shrine of Amansalen-

Amasalen, the Executioner
Influence	Patron of Sacrifice
Once a Faendryl elf before the exile of the House, Amasalen’s immortal origins are not known. He is the patron of sacrifice, and delights in the painful offering up of victims as gifts to a greater cause. He is considered a servant of Luukos, which is borne out by his faintly reptilian features and craving for human blood. However, he has frequent dealings with Mularos, and many rumors state that his true master is Marlu. What is known for certain is that he is energized by bloody, frenzied religious celebrations.
Physical Form	Amasalen’s form is that of a white-haired, lean, muscular man with bronzed skin, snake-like eyes and a long reptilian tongue. He wears only flowing white silk pants. In manner, he is zealous and sadistic.
Symbol	His symbol is a purple two-headed serpent twined about a crimson hand.

To get there from TC: West 5 blocks, Go Gate, West 2 blocks, Southwest 2 blocks, Go Trail, Go Rolaren Gate (this gate has to be picked open, and has a really hard lock. if you try to open or touch it you will be zapped by the magic that binds the gate, resulting in damage and a really long stun time. Nudge the gate after is it picked open with your lockpick or other item in yout hand. Hurry through as the wind tends to knock the gate shut.), Climb Stairs, East 2 Blocks, Climb Ramp.

Voln Altar and Society - This is a the courtyard of the "Voln Society" followers. Ya can't gain ranks here, but you can check your favor.

To get there from TC: North 1 block, East 1 block, Northeast 1 block, Go Gate

Guide for the Young Hunter in Icemule Trace

this guide is still in the works, but is finished as far as the young hunter areas are concerned

Volumes One and Two are the most neded by the young hunters from Train 1-10, and can still learn quiet well here.

Volumes Three through Seven go up further in the age of critters and will expand later to include the Upper area hunting grounds of Pinefar and the Rift once I can gain that information.

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Last Update: 5/03/2001