The Wayward King - Revision history

Sc admin: /* Orisons */

2026-01-01T19:48:48Z

Orisons

← Older revision		Revision as of 15:48, 1 January 2026
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	* Aeluin of the Unending Road: Elf, Pelithos, Shattered Age, Deceased. Aeluin was a caravan guide who swore never to settle after surviving a migration where every map failed. Legends say Lugh taught him a song that revealed paths only while it was sung, allowing his people to cross lands thought impassable. Aeluin would use the song to recklessly, getting lost for decades. But he returned one last time to use the song to save his people, before vanishing into history.		* Aeluin of the Unending Road: Elf, Pelithos, Shattered Age, Deceased. Aeluin was a caravan guide who swore never to settle after surviving a migration where every map failed. Legends say Lugh taught him a song that revealed paths only while it was sung, allowing his people to cross lands thought impassable. Aeluin would use the song to recklessly, getting lost for decades. But he returned one last time to use the song to save his people, before vanishing into history.
	* Sereth Seven-Steps: Whirligig, Arcadia, Dark Age, Alive. Sereth is a Whirligig who fled [[The Soft Court]] as a [[Kindly One]] before its dissolution, then joined and escaped [[The ~~Night~~ Court]] as a [[Displaced]] before its dissolution, then joined and escaped [[The Forgotten Court]] as a [[Puck]] before its erasure, then joined and abandoned [[The Court of Intrigue]] as a [[Moodling]] before its schism. He finally arrived in The Dancing Court as a Whirligig, the only Fey to have been in every lost Court. She is known for inventing the "Seven Steps", a magical dance that can escape any space.		* Sereth Seven-Steps: Whirligig, Arcadia, Dark Age, Alive. Sereth is a Whirligig who fled [[The Soft Court]] as a [[Kindly One]] before its dissolution, then joined and escaped [[The Nigh Court]] as a [[Displaced]] before its dissolution, then joined and escaped [[The Forgotten Court]] as a [[Puck]] before its erasure, then joined and abandoned [[The Court of Intrigue]] as a [[Moodling]] before its schism. He finally arrived in The Dancing Court as a Whirligig, the only Fey to have been in every lost Court. She is known for inventing the "Seven Steps", a magical dance that can escape any space.
	* Joras the Lantern-Bearer: Human, Acrolon, Dawn Age, Alive. A street performer turned pilgrim, Joras wandered the Empire lighting roadside lanterns in places travelers feared to stop. He claimed the lights were not to guide the way forward, but to prove that no road was ever truly finished. The roads he wandered were known to have remarkable experiences.		* Joras the Lantern-Bearer: Human, Acrolon, Dawn Age, Alive. A street performer turned pilgrim, Joras wandered the Empire lighting roadside lanterns in places travelers feared to stop. He claimed the lights were not to guide the way forward, but to prove that no road was ever truly finished. The roads he wandered were known to have remarkable experiences.

Sc admin: /* Orisons */

2026-01-01T17:21:02Z

Orisons

← Older revision		Revision as of 13:21, 1 January 2026
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	=Orisons=		=Orisons=

	These are the Orisons of The Wayward King who are most famous across the universe.		Most Orisons of the Wayward King are Whirligigs, but he also forms pacts with mortals on occasion, usually explorers and dancers. These are the Orisons of The Wayward King who are most famous across the universe.

	* Aeluin of the Unending Road: Elf, Pelithos, Shattered Age, Deceased. Aeluin was a caravan guide who swore never to settle after surviving a migration where every map failed. Legends say Lugh taught him a song that revealed paths only while it was sung, allowing his people to cross lands thought impassable. Aeluin would use the song to recklessly, getting lost for decades. But he returned one last time to use the song to save his people, before vanishing into history.		* Aeluin of the Unending Road: Elf, Pelithos, Shattered Age, Deceased. Aeluin was a caravan guide who swore never to settle after surviving a migration where every map failed. Legends say Lugh taught him a song that revealed paths only while it was sung, allowing his people to cross lands thought impassable. Aeluin would use the song to recklessly, getting lost for decades. But he returned one last time to use the song to save his people, before vanishing into history.
	* Sereth Seven-Steps: Whirligig, Arcadia, Dark Age, Alive. Sereth is a Whirligig who fled [[The Soft Court]] as a [[Kindly One]] before its dissolution, then joined and escaped [[The Night Court]] as a [[Displaced]] before its dissolution, then joined and escaped [[The Forgotten Court]] as a [[Puck]] before its erasure, then joined and abandoned [[The Court of Intrigue]] as a [[Moodling]] before its schism. He finally arrived in The Dancing Court as a Whirligig, the only Fey to have been in every lost Court. She is known for inventing the "Seven Steps", a magical dance that can escape any space.		* Sereth Seven-Steps: Whirligig, Arcadia, Dark Age, Alive. Sereth is a Whirligig who fled [[The Soft Court]] as a [[Kindly One]] before its dissolution, then joined and escaped [[The Night Court]] as a [[Displaced]] before its dissolution, then joined and escaped [[The Forgotten Court]] as a [[Puck]] before its erasure, then joined and abandoned [[The Court of Intrigue]] as a [[Moodling]] before its schism. He finally arrived in The Dancing Court as a Whirligig, the only Fey to have been in every lost Court. She is known for inventing the "Seven Steps", a magical dance that can escape any space.
	* Joras the Lantern-Bearer: Human, Acrolon, Dawn Age, Alive. A street performer turned pilgrim, Joras wandered the Empire lighting roadside lanterns in places travelers feared to stop. He claimed the lights were not to guide the way forward, but to prove that no road was ever truly finished. The roads he wandered were known to have remarkable experiences.		* Joras the Lantern-Bearer: Human, Acrolon, Dawn Age, Alive. A street performer turned pilgrim, Joras wandered the Empire lighting roadside lanterns in places travelers feared to stop. He claimed the lights were not to guide the way forward, but to prove that no road was ever truly finished. The roads he wandered were known to have remarkable experiences.

Sc admin at 22:05, 31 December 2025

2025-12-31T22:05:30Z

← Older revision		Revision as of 18:05, 31 December 2025
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	* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.		* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.
	* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.		* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.

			=Orisons=

			These are the Orisons of The Wayward King who are most famous across the universe.

			* Aeluin of the Unending Road: Elf, Pelithos, Shattered Age, Deceased. Aeluin was a caravan guide who swore never to settle after surviving a migration where every map failed. Legends say Lugh taught him a song that revealed paths only while it was sung, allowing his people to cross lands thought impassable. Aeluin would use the song to recklessly, getting lost for decades. But he returned one last time to use the song to save his people, before vanishing into history.
			* Sereth Seven-Steps: Whirligig, Arcadia, Dark Age, Alive. Sereth is a Whirligig who fled [[The Soft Court]] as a [[Kindly One]] before its dissolution, then joined and escaped [[The Night Court]] as a [[Displaced]] before its dissolution, then joined and escaped [[The Forgotten Court]] as a [[Puck]] before its erasure, then joined and abandoned [[The Court of Intrigue]] as a [[Moodling]] before its schism. He finally arrived in The Dancing Court as a Whirligig, the only Fey to have been in every lost Court. She is known for inventing the "Seven Steps", a magical dance that can escape any space.
			* Joras the Lantern-Bearer: Human, Acrolon, Dawn Age, Alive. A street performer turned pilgrim, Joras wandered the Empire lighting roadside lanterns in places travelers feared to stop. He claimed the lights were not to guide the way forward, but to prove that no road was ever truly finished. The roads he wandered were known to have remarkable experiences.

Sc admin: /* Society */

2025-12-31T21:13:20Z

Society

← Older revision		Revision as of 17:13, 31 December 2025
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	Creatures most often drawn to the Dancing Court are travelers, migrants, performers, pilgrims, and those unable or unwilling to settle. Mortals who fear stagnation, who feel trapped by routines or identities, often become Orisons, especially dancers, sailors, nomads, and those who measure their lives in journeys rather than milestones. Among the Fey, this philosophy appeals to those unsettled by permanence, who believe that remaining in motion is the only way to survive a world that can erase meaning without warning.		Creatures most often drawn to the Dancing Court are travelers, migrants, performers, pilgrims, and those unable or unwilling to settle. Mortals who fear stagnation, who feel trapped by routines or identities, often become Orisons, especially dancers, sailors, nomads, and those who measure their lives in journeys rather than milestones. Among the Fey, this philosophy appeals to those unsettled by permanence, who believe that remaining in motion is the only way to survive a world that can erase meaning without warning.

	~~=Society=~~

	The Dancing Court is nomadic, a rarity in Arcadia. They are composed of ever-moving caravans of Whirligigs, stopping only for ritual festivities. Status is earned through exceptional skill at dance and helping the caravan move safely and swiftly.

	* Essence: Action
	* Inflection: Bright

	=Relations=		=Relations=

Sc admin: /* Relations */

2025-12-31T21:11:33Z

Relations

← Older revision		Revision as of 17:11, 31 December 2025
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	* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.		* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.
	* The Lady of the Web: Lugh and the Lady of the Web share a tense relationship of master and hesitant courtier. The Lady of the Web seeks to draw Lugh into her vast lattice of reverence, treating his popularity, joy, and festivals as resources that should properly flow toward her worship. Lugh evades her gently but persistently, charming her emissaries, attending her gatherings just long enough to unsettle them, and refusing to let admiration harden into devotion.		* The Lady of the Web: Lugh and the Lady of the Web share a tense relationship of master and hesitant courtier. The Lady of the Web seeks to draw Lugh into her vast lattice of reverence, treating his popularity, joy, and festivals as resources that should properly flow toward her worship. Lugh evades her gently but persistently, charming her emissaries, attending her gatherings just long enough to unsettle them, and refusing to let admiration harden into devotion.
			* The Never Queen and Promised King: Lugh's relationship with Morrigan is that of predator and prey. Morrigan hunts Lugh like a fast moving prey animal, with a joyous abandon uncommon for her, while Finvarra despises the lust he sees in his wife for the hunt and hates Lugh, and Lugh fears Finvarra's jealousy far more than Morrigan's chase.
	* The Porcelain Queen and Grey King: Lugh and The Twins share a relationship of reluctant respect between begrudging teachers and student. Rhiannon and Arawn treat Lugh as a reluctant lesson, a living display of what happens when one refuses to confront endings and stillness. There is a part of Lugh that is willing to learn, a part that years for an end to the journey, but he is too afraid to face this fact and so resents their insistence but cannot fully stay away.		* The Porcelain Queen and Grey King: Lugh and The Twins share a relationship of reluctant respect between begrudging teachers and student. Rhiannon and Arawn treat Lugh as a reluctant lesson, a living display of what happens when one refuses to confront endings and stillness. There is a part of Lugh that is willing to learn, a part that years for an end to the journey, but he is too afraid to face this fact and so resents their insistence but cannot fully stay away.
	* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.		* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.
	* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.		* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.
	* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.		* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.

Sc admin: /* Relations */

2025-12-31T20:36:05Z

Relations

← Older revision		Revision as of 16:36, 31 December 2025
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	* The Bitter Queen: Lugh and Maeve share a cruel, performative relationship of pet and nemesis. Maeve delights in treating Lugh as a favored curiosity, mocking him, praising him, and setting him up for humiliations she finds artistically satisfying, all while insisting it is affectionate sport. Lugh plays along just long enough to turn her jabs into communal laughter, or worse, jests that fall flat, a habit that infuriates Maeve, who despises that her “pet” so often escapes ridicule by making himself beloved instead.		* The Bitter Queen: Lugh and Maeve share a cruel, performative relationship of pet and nemesis. Maeve delights in treating Lugh as a favored curiosity, mocking him, praising him, and setting him up for humiliations she finds artistically satisfying, all while insisting it is affectionate sport. Lugh plays along just long enough to turn her jabs into communal laughter, or worse, jests that fall flat, a habit that infuriates Maeve, who despises that her “pet” so often escapes ridicule by making himself beloved instead.
	* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.		* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.
			* The Cake Queen and Candy King: Lugh and the Sweet Couple share a volatile relationship built on indulgence and irritation. Lugh delights in Siucran’s manic energy and improvisational excess, finding it kin to his own love of motion, but he disapproves of Milseach’s slower rhythms, which he dismisses as sticky and sentimental. The Candy King and Cake Queen, however, are united in their fondness of Lugh, including exasperating him with their paradoxical relationship.
	* The Cartographer Queen and Hearth King: Lugh's relationship with the Cartographer Queen and Hearth King is one of pursuit and evasion. The Upper Court of Yesterday tracks Lugh obsessively, charting his movements as anomalous data that refuses to resolve into pattern of space or time. Lugh senses the attention and responds by deliberately changing routes, dances, and destinations, treating their quiet surveillance as a game he refuses to let end.		* The Cartographer Queen and Hearth King: Lugh's relationship with the Cartographer Queen and Hearth King is one of pursuit and evasion. The Upper Court of Yesterday tracks Lugh obsessively, charting his movements as anomalous data that refuses to resolve into pattern of space or time. Lugh senses the attention and responds by deliberately changing routes, dances, and destinations, treating their quiet surveillance as a game he refuses to let end.
	* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.		* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.
	* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.		* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.
	* The Lady of the Web: Lugh and the Lady of the Web share a tense relationship of master and hesitant courtier. The Lady of the Web seeks to draw Lugh into her vast lattice of reverence, treating his popularity, joy, and festivals as resources that should properly flow toward her worship. Lugh evades her gently but persistently, charming her emissaries, attending her gatherings just long enough to unsettle them, and refusing to let admiration harden into devotion.		* The Lady of the Web: Lugh and the Lady of the Web share a tense relationship of master and hesitant courtier. The Lady of the Web seeks to draw Lugh into her vast lattice of reverence, treating his popularity, joy, and festivals as resources that should properly flow toward her worship. Lugh evades her gently but persistently, charming her emissaries, attending her gatherings just long enough to unsettle them, and refusing to let admiration harden into devotion.
			* The Porcelain Queen and Grey King: Lugh and The Twins share a relationship of reluctant respect between begrudging teachers and student. Rhiannon and Arawn treat Lugh as a reluctant lesson, a living display of what happens when one refuses to confront endings and stillness. There is a part of Lugh that is willing to learn, a part that years for an end to the journey, but he is too afraid to face this fact and so resents their insistence but cannot fully stay away.
	* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.		* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.
	* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.		* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.
	* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.		* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.

Sc admin: /* Relations */

2025-12-31T19:39:45Z

Relations

← Older revision		Revision as of 15:39, 31 December 2025
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	* The Bitter Queen: Lugh and Maeve share a cruel, performative relationship of pet and nemesis. Maeve delights in treating Lugh as a favored curiosity, mocking him, praising him, and setting him up for humiliations she finds artistically satisfying, all while insisting it is affectionate sport. Lugh plays along just long enough to turn her jabs into communal laughter, or worse, jests that fall flat, a habit that infuriates Maeve, who despises that her “pet” so often escapes ridicule by making himself beloved instead.		* The Bitter Queen: Lugh and Maeve share a cruel, performative relationship of pet and nemesis. Maeve delights in treating Lugh as a favored curiosity, mocking him, praising him, and setting him up for humiliations she finds artistically satisfying, all while insisting it is affectionate sport. Lugh plays along just long enough to turn her jabs into communal laughter, or worse, jests that fall flat, a habit that infuriates Maeve, who despises that her “pet” so often escapes ridicule by making himself beloved instead.
	* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.		* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.
			* The Cartographer Queen and Hearth King: Lugh's relationship with the Cartographer Queen and Hearth King is one of pursuit and evasion. The Upper Court of Yesterday tracks Lugh obsessively, charting his movements as anomalous data that refuses to resolve into pattern of space or time. Lugh senses the attention and responds by deliberately changing routes, dances, and destinations, treating their quiet surveillance as a game he refuses to let end.
	* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.		* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.
	* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.		* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.

Sc admin: /* Relations */

2025-12-31T18:16:57Z

Relations

← Older revision		Revision as of 14:16, 31 December 2025
Line 77:		Line 77:
	=Relations=		=Relations=

			* The Bitter Queen: Lugh and Maeve share a cruel, performative relationship of pet and nemesis. Maeve delights in treating Lugh as a favored curiosity, mocking him, praising him, and setting him up for humiliations she finds artistically satisfying, all while insisting it is affectionate sport. Lugh plays along just long enough to turn her jabs into communal laughter, or worse, jests that fall flat, a habit that infuriates Maeve, who despises that her “pet” so often escapes ridicule by making himself beloved instead.
	* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.		* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.
	* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.		* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.

Sc admin: /* Relations */

2025-12-31T18:12:56Z

Relations

← Older revision		Revision as of 14:12, 31 December 2025
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	* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.		* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.
	* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.		* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.
			* The Lady of the Web: Lugh and the Lady of the Web share a tense relationship of master and hesitant courtier. The Lady of the Web seeks to draw Lugh into her vast lattice of reverence, treating his popularity, joy, and festivals as resources that should properly flow toward her worship. Lugh evades her gently but persistently, charming her emissaries, attending her gatherings just long enough to unsettle them, and refusing to let admiration harden into devotion.
	* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.		* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.
			* The Spider Queen: Lugh and the Bleak aspect of Lolth share a cat-and-mouse relationship of master and rebel. The Spider Queen considers Lugh a wayward pupil that has escaped correction, a dangerously free (and therefore flawed) spirit. Lugh rejects her authority and eludes her judgment, creating an endless chase.
	* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.		* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.

Sc admin: /* Relations */

2025-12-31T17:24:39Z

Relations

← Older revision		Revision as of 13:24, 31 December 2025
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	=Relations=		=Relations=

			* The Bloated King: Lugh and Mammon are openly antagonistic toward each other. Mammon seeks to be a patron of Lugh's Court, commanding its performances like a dance company owner, while Lugh seeks to avoid any tethers that would slow or direct his movement. The two circle each other in a cat and mouse game of patron and artist just waiting for the other to give up.
	* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.		* The First Queen: Lugh and Caedra are distant and polite acquaintances, keeping each other at arm's length. Caedra is mildly intrigued by Lugh, and the way he relies upon music for his obsession with dance. Lugh vaguely senses Caedra's deep genius and curiosity about him, and doesn't like how well she seems to understand his movements before he even makes them.
	* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.		* The Giving Queen: Lugh and Iobairtin are genuine friends who enjoy each other’s company, especially during festivals that pass through her domains. Lugh adores her warmth and treats her like a beloved aunt figure, while Iobairtin indulges him with food, shelter, and kindness she knows he will never quite repay. Beneath the affection, she quietly worries that he takes refuge in motion to avoid responsibility, while he avoids lingering long enough to feel her disappointment.
	* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.		* The Sleeping Queen: Lugh and Aisling toxic friendship, sometimes more, who periodically enabling one another and then recoiling. Lugh seeks her intoxicating presence out during festivals to feed a mild addiction to motion without direction, while Aisling finds him a comforting balm between oblivions. Neither trusts the other, and both quietly believe the other represents a path they must never follow too far.
	* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.		* The Thespian Queen: Lugh has paternal feelings for Cealgran, which is ironic since she is older than he, but she is younger as a Fey God. He sees her ever changing form as an analog to his ever changing motion. She resents his feelings and finds them stifling, condescending, and naive.