There was talk of rejecting this concept as it was due to your god being extremely Sphere-centric. However, I'm of the opinion that you and I can probably get away with this where no others can, because the gods of death and sleep can just sit in their bases and everybody else is basically forced to (eventually) come see them. Now on that topic, your sheet does raise an interesting IC question of what K'Nell would do for beings that don't sleep, and a perhaps greater OOC question of how everybody will feel if their mortal characters are essentially forced to interact with yours on a regular basis. That latter one is worth thinking about, but perhaps we can handwave it by saying that K'Nell doesn't possibly have the time to personally visit any given person in many of their dreams, so most nights end up just being forgettable dreams that involve partying and alcohol or other random things.

Further concern was raised by both BBeast and Muttonhawk about what you'd actually do on Galbar and on what you could do on the first few Turns before there's sleeping mortals running around. I'm not so worried because you've asked me about making the hallucinatory dreamscapes etc. and that's shown a willingness to leave Sleepyville and make tangible changes to Galbar, which I like very much. I've pointed that out to my fellow GMs; I'm sure their concerns will be at least somewhat alleviated now. Really, what I'm now concerned about is precisely the opposite--what are you going to do 5 turns in? What is the "game plan" so to speak, if all your god wants to do is party and troll dreaming people? It's a really achievable goal really, so good for him I guess, but is he going to just be content with that? Are you going to get bored writing about dream parties after a while and then run out of things to do? I hope you have some plot arcs in mind for later on.

You know, on the Discord you just claimed that you were sure you'd met my Sphere criteria, but surprise! Finding things about Spheres to criticize is what makes my day.

In your case, you actually have a cool Sphere idea. It has impact and I like the implementation, but my question-borderline-objection is just me wondering what the point is. What is it doing, really? What is K'Nell trying to achieve with these parties, what exact sort of things go on in these parties, how will these dream parties actually affect the lives of the sleepers that get pulled into them? All of this is left completely in the air. Perhaps that's on purpose because there is no point; perhaps you just figured it'd be better to answer those questions of mine IC, in which case I say fair enough. Maybe you could just tease the answer in your sheet, though!

The Persona is interesting and certainly has potential, but it's just that--potential. You could easily end up not doing anything of note, and I sort of get into my logic behind that claim in the paragraph above.

Re: Form, I think we got back to you about this, but if not then I'll tell you here that we decided to approve K'Nell taking on any form inside the Palace of Dreams, seeing as it's just a dream. If there's ever any instances where he tries to do something cheeky like pull someone fully into the Palace of Dreams so as to kill them there as a voodoo-doll means of killing their real body, perhaps this ability would be more questionable. But you've shown no indication of ever intending to have such a power, so I'll stop blathering about it.

Overall this is quite good though. Don't let my mountain of musing, griping, and nitpicking bother you too much.

Sheet accepted with some suggestions.

Your choice to write the CS freeform had nice style. That can tend to be annoying to compartmentalise but I'm glad you highlighted the words pertinent to the original CS template so I could refer to the sections quickly anyway. Thanks for that.

How I'm seeing the take on the god of Death is one limited in capability to the traditional Grim Reaper; that of taking souls from dead bodies to move them onto the afterlife. I like the shake-up of the character being rather more emotionally involved than the traditionally detached the Grim Reaper (Book Thief narrators notwithstanding). Having a power over souls as you describe it makes a more vague than usual portfolio, but not too vague to make you flesh it out any further. The limitations that are there give sufficient definition.

The Sky of Pyres is a cool sphere and a cool afterlife. The idea of the living looking up and seeing a star glint with the light of a recently departed relative is a nice idea, as is whatever beliefs could arise from cremation vs. burial vs. whatever else. It's odd (but not in a bad way) that the destiny of a soul is to burn, given all the Abrahamic stuff pushing burning of souls onto hell. I can see certain vested interests trying to reward virtuous souls with a nicer afterlife or reincarnation, or conversely punishing evil souls in an opposite manner. Or, you know, Chopstick Eyes'll just sell on the ashes to the Chthonics as part of some kind of IVF enterprise.

The persona is something I would usually worry about from a player, given that Katharsos is rather reclusive, stoic, solemn, and dutybound. This does not make for a particularly proactive character. However, the reason I'm letting you get away with it is because you are a GM who is going to be playing the architect and you really should be using more of your free time getting other CS reviews done!

Approved by me.

The Abyss is a suitably inhospitable sphere, true to its Earthly namesake. I've seen documentaries of those dark places and they are weird and wonderful. Non-deities are going to need some serious kit to survive down there, but it's shaping out to be quite a nexus for the Chthonic spheres. Maybe we will see one sooner or later, buried at sea, eaten by sharks and fish and ultimately sinking below that which their soul can grasp out to the Pyres. The undead adventures of Davy Jones.

The ocean portfolio is clear as crystal. It all makes sense to be and I don't doubt you'll have plenty to do.

While the temptation to call the persona a rule 63 Poseidon is damn tempting, there's a little more nuance in that. You've got a goddess with just enough insecurities to make a real mess and still learn from it emotionally, and that's sufficient for just about any character here in a broad sense. You'll just have to forge those relations with other deities to make that happen, even if it means throwing a tsunami here and there. Then again, like I said for Cyclone, there's less pressure on you, being a GM and all.

Approved by me.

There's some good stuff going on here, but it's marred by some flaws.

Your Sphere is quite cool and thematic; it can fit nicely into our setting and it has its own charm. Let me start by sharing my thoughts on what it actually does: firstly, it's clearly quite affected by Galbar, as in many ways it mirrors what's going on with the families down below. But then as far as it's impact on Galbar, it's just the equivalent of an artillery battery. There are all of these trees and pools that can have destructive, near voodoo-doll like effects upon entire families down below. It's like a missile silo full of a million buttons, each one capable of essentially dropping a free curse down on somebody's family. That's obviously an incredibly powerful ability that should perhaps be toned down or limited, but then again, Family seems like a very niche and limited Portfolio (more on this later) so perhaps such a powerful thing can be justified.

You know, I think it'd be fitting to say that pruning the trees and tending to the lakes can actually bring good fortune to a family; your sheet only speaks of being able to negatively effect families by ruining the lakes, but why is that? If you made this change, your Sphere would become ironically more powerful and flexible while at the same time feeling less like a proverbial missile silo.

On to personality--I'll start with the good. I like how she is curious about the universe and wants to look after the other gods as they are "her family." Both of these attitudes can lend themselves well to interaction and the storylines will practically write themselves. It's assuring to us when we see you take such a proactive sort of persona rather than an isolated one, because you weren't very active in Mk. II and we really hope that won't be the case here.

The bad? Well, I actually really like this idea that she "punishes those who would try to tear [families] apart" and presumably tries to stop things like kinslaying, adultery, or even slavery that might drive families apart in various means. But this all sounds like a very good and benevolent thing to do, yet you pinned her down as neutral. There's even more contradiction in that you'd expect the goddess that concerns herself with families and embodies the idea of kinship to be somewhat emotional or at least passionate, but you describe her as cold and logical. Are these mixed cues and the seemingly paradoxical description intentional? I'm not getting that vibe; instead I'm just feeling like the personality is maybe a bit unrefined and that you could probably do to try pinning it down better, or else change around some of these stances she holds so as to better conform to a true neutral alignment.

The biggest barrier towards accepting your sheet is the Portfolio. Family seems like a fairly concise and workable Portfolio, but you describe what family is without telling us anything about what it means in the context of powers. What does your Portfolio actually let Arae do? Does she only tend to the trees and lakes in her Sphere and get the voodoo-doll powers? If so, I think you could probably expand this to be more useful. And in either case, some clarification and better portfolio description is warranted.

Sheet rejected for now; fix the Portfolio issues and you'll be well on your way to getting it approved. But furthermore, I hope that you act upon these suggestions for her Sphere, and then also consider my musings about personality.

I like your character a lot! More than any of Astarte's iterations, honestly. There's some stuff going on here, and while parts are quite simple everything seems overall good.

Your Portfolio is concise and effective. There's not much to say beyond that it's good. With great deluges of rain you could perhaps erode canyons and do all sorts of cool things in the first few turns.

The So'E is also a neat Sphere. It has a clear, relevant, and tangible effect upon Galbar. Not much is going on inside of it save for Li'Kalla having a house and a bunch of rainclouds forming, but for now that's okay because the imagery fits, you have a good skeleton, and more can always be done IC.

Regarding personality, you've chosen the sort of character that will require proactive writing to do things; hopefully you intend to be appropriately forward n developing Li'Kalla and showing some personality change. That segues nicely into my next point: some of the GMs thought it worth waving a warning flag here. Be careful as you approach the mature themes like self-harm and depression; Divinus has a mature enough audience and setting to handle it, but just try to tread the topic lightly as you go through with it. This was the only potentially objectionable thing about your sheet.

Well done!

Sheet approved with just a little warning flag waving!

Name: Arae

Their Sphere: Spekatha
The land is a seemingly endless grassland, with ponds and lakes (henceforth referred to as Familial Lakes) appearing and/or disappearing to spot its surface. Various saplings and/or shrubs (henceforth referred to as Familial Trees) grow on the edges of each body of water. In the center of Spekatha is a Familial Lake much larger than all the others, with multiple full-grown Familial Trees growing nearby (due to its significance, it possesses its own name: The Pantheon). Rather than a spherical Sun, there is a band of light stretching from both sides of the horizon that provides illumination, while the night is starless. However, the bodies of water will each glow a different color, providing a kaleidoscope of colors to illuminate the night.

These Familial Lakes are linked with the various families that would exist throughout Galbar, with the largest keeping track of the gods. Specifically, the saplings track the well being of each member of a family, ranging from full blooming flowers/bright foliage to completely dead, while the water level and/or purity keeps track of the amount/strength of their familial bond(s), respectively. An image of a certain family member(s) can also be called upon on the water surface of the respective body of water.

Most of Arae's power is intertwined with her Sphere. By keeping the plants well-maintained, as well as the water clean and full, family members linked to them are blessed with Arae's essence. Properly pruning the plants and keeping them healthy will bless the respective person with luck, and their faith in the family is strengthened. Keeping the water healthy will provide the family with strength to endure hardships and stay together. Similarly, any attempts to purposefully damage the trees and/or pollute the water will respectively affect the general well-being of any connected familial bonds. If a tree is damaged, their ability to feel familial love will be weakened as well. If the water is drained and/or polluted, the family's familial bonds will weaken as well.

One can easily tell if a family is completely destroyed (whether by the family breaking apart or all members dying) when the lake is completely dried up and all plants around it are dead. When that happens, Arae is capable of erasing the remains as if they were never there, and another body of water will automatically reappear to take its place once a new family is born. What is noteworthy, however, is that the lake Pantheon cannot be drained or polluted as easily any other lake, nor can its trees be damaged as easily; both aspects are simply too resilient to damage for any single god, even for Arae.

Location of Sphere: Celestial, near Galbar (finer details might get worked out)

Portfolio: Family: To Arae, a family is a group of beings that hold feelings of companionship and love for one another. Together, they tackle their hardships together, and support each other through them all. It does not matter whether your alignment is Good or Evil, Lawful or Chaotic, or whatever entropic state of alignment you are in. however. It does not matter what your species is, whether human, demon, elf, dwarf, elemental, undead, eldritch horror, or even a god. All that matters are the people you share a bond with, as well as the people who care about you in return. This chain of bonds is what grants people the power to go on with their day and live happy lives. Perhaps not all familial relationships may be the best or closest, but as family, it is one's duty to support the other, no matter how entropic.

_{A B I L I T I E S O F N O T E}

---

• Sense Bond: By having Family as her source of power, Arae is capable of instinctively sensing these familial bonds, to the point that individual ones can be pinpointed from leagues away, provided she has already recognized it first.
• Power of Faith: Through these familial bonds, Arae can provide a certain amount of assistance, depending on their level of faith in their family. A burst of strength in a critical second, a bit of luck in a troubled time, or even just a moment of clarity in an uncertain moment are all things she can do to provide aid. However, she will not solve peoples' problems for them; merely, provide what is needed for them to solve it themselves.

Persona: Neutral Good. Arae is a seemingly kind soul, soft and gentle on others with an equally soft and gentle smile. She will become a friend to those who ask, and will also play the mother role for those she considers children. However, while she believes in second chances, she is not afraid to harden her heart when someone proves to be too much of a burden for a family and cast them out of it. She is also insatiably curious about the universe the Architect has summoned her to, and may perform whimsical acts for whatever catches her interest. It ultimately depends on her mood, as well as how much it would bother the other gods, to determine what her next course of action would be.

She is mostly concerned with how the gods and goddesses of this world treat each other. They are the only beings she considers to a part of her own family, and she will do everything in her power to keep them together. That being said, she does keep a close eye on mortals as well, finding enjoyment and contentment in their bonds with each other that hold them together. In her eyes, Arae does not mind when a being would play heroics or commit atrocities, although she may utter a simple bit of praise or reprimand in response. When it comes to the bonds between friends and family, however, she punishes those who would try to tear them apart, as well as provide aid to those who treasure those bonds.

Appearance/Form: Arae takes on the form of a snake-like dragon similar to that of a Chinese dragon. She is about 3 meters long, with a pair of leathery wings. Her body is covered with sky blue scales, with thin dark blue stripes every foot along her body. Her underbelly is a pale peach color. She has four legs, each with 4 short claws, with her front limbs capable of acting as short arms. Her jagged crest, which stretches from her head to near the tip of her tail, is a light purple with the jagged tips red.

Musical Theme:

This is a cool spin on the typical archetype of a trickster god! We've seen a few others with this sort of persona in past Divinus installments, but you pull it off in a unique (and dare I say, better) way than any that I can remember.

One other thing that makes Eurysthenes stand out is that the character is the only god thus far to be ungendered, which seems appropriate as it makes your god seem all the more enigmatic. You handle this by using the pronoun 'they,' but I wonder if it would be better to instead try 'it'. Either way I expect that it might be tricky to write out narrations using such uncommon and awkward pronouns so frequently; that's been my experience as in Mk. II I have a character that flips between being an 'it' and a 'he'. Perhaps there's some rationale to your choice in that you refer to Eurysthenes as they to indicate some sort of schism or split-persona, but if that's not the case then I feel like it'd be a lot easier to both interpret and write your stuff if you just resorted to saying 'it' or 'he'. The potential confusion is probably most evident in your persona section, where you confusingly are forced to use 'they' both in reference to Eurysthenes and other gods.

That tangent aside, the Sphere is very thematic and you've done a good job already working out natural connections to so many others. I get the vibe that aside from the somewhat minor effect of occasionally influencing mortals by making them lose their thoughts and such, its main interaction is "kidnapping" people and forcing them to traverse the maze in order to hopefully escape. You don't quite explain how this escape happens (or how often it happens) and nor do you explain how one would get from Galbar to the Infinite Maze (basically what sort of Gateway you'll be using), but perhaps that's best left for the IC. Just try to keep those things in mind.

On to Portfolio--as I said, I quite like your design overall and the angle that you're taking. However, from what you've told me and from how you describe Puzzles on your sheet, I'd suggest you switch your starting Portfolio to something similar and go for Puzzles as a Cluster rather than a Portfolio. It's a bit strange to start with such a broad Portfolio as Puzzles and then go into more specific ones like enigmatic magic which you yourself describe as falling under Puzzles; perhaps you start with a Portfolio of Confusion or something along those lines, since it'd be fitting for your god's persona, powers, and Sphere.

Personality-wise, you've got it going. Lots of things to give you reasons to post and an attitude that will write plotlines by itself makes for happy GMs. We see now issues here and are very interested to see what you'll do IC.

Sheet accepted with only minor suggestions. I think it'd make more sense for you to adjust the Portfolio in line with what I said, but I won't demand you do it.

I like the theme that you're going for and think it has great potential. That being said, I of course have recommendations for you and see a few issues that need addressing.

I like your Portfolio, especially how you also address the idea of emotional Cold. That being said, we GMs would like to see more details about what sort of abilities you envision coming along with this Portfolio, because as-is you've just given a vague description of what Cold means and not what Nepja's powers are.

We've already spoken about how Ryme should be a mere disguise and not a separate form if you're going to have that for free from the start, but I'll reiterate it again.

Let's move on to Niflheim, the Sphere you've chosen. I'm a fan of Norse mythology, so overall I like the idea. Driving the cold weather on Galbar is a very obvious effect, though I think you could do well to expand upon this. Your Portfolio mentions that Nepja's Cold refers to emotions as well and is more than mere temperature, so perhaps your Sphere can reflect that with effects of some sort. In addition, you could position Niflheim as the insulative barrier that wards Galbar from the fiery heat of all these other infernal Chthonian Spheres deeper down.

On the topic of Spheres that are deeper down, I'm not sure why you have Niflheim set up as being extremely deep. In my mind it'd be far more thematic to have it not very deep at all, and perhaps even accessible through natural connections in the form of glacial holes and caverns in Galbar's poles. Perhaps the poles are actually gateways between Galbar and Niflheim? You also mention there being light and a sun in Niflheim, though I'm not sure if that's very thematic, why it's ther, or where it'd come from. Perhaps you could instead have the poles of such clear ice that Galbar's natural sunlight can filter down through and into Niflheim, reflecting everywhere off the mirrorlike ice? That'd be pretty neat.

Now we can get to what's the biggest issue that the GM team has with your sheet: not only do we want a bit more detail on the Portfolio, we also want clarification on what you intend to do with Nepja. It feels like I say this in almost every other sheet, but it's especially the case for you. You're under a great deal more scrutiny because I recall you having a god of winter called Sveiand in Divinus Mk. I, and you inexplicably vanished not very far in. It's not a dealbreaker; people change, and hopefully you won't leave us hanging this time. But before accepting your sheet, I want to see evidence of some dedication namely in the form of plans for story arcs and assurances that you'll have things to do so that you won't be left scratching your head for months before vanishing. Talking to others OOC to get involved in some IC stuff (be it connecting Spheres, planning story arcs for the first age, or anything else) would also go a long ways towards appeasing us on this matter.

Sheet rejected for now. To summarize, we want clarification on Portfolio as well as some info on what you'll do and assurances you won't drop early on. Also, I had a few minor suggestions about Niflheim.

Big High War God is here! All three of us were fans of your sheet. Sorry, but that means you'll likely be a very short review as I don't have many suggestions or critiques.

Your Sphere is a very nice and fitting one, and honestly I'm tempted to nominate the Pit for Best Sphere Award. It's fitting for your god's persona and his Portfolio, it has a very good effect that makes sense and is neither negligible nor overwhelming, its location makes sense, it has numerous (and fitting) interactions with other Chthonian Spheres, the flavor in your description is savory and drips throughout the whole sheet...

Regarding Portfolio, it's well written, good in scope, and about what we'd expect from a war god. Nice. The personality is also fitting and lends itself well to storylines and interactions; I like how despite his brutality, Narzhak isn't a mindless destroyer of worlds and has some actual depth. That gives you some flexibility going forward.

Your form is worth commenting upon. True to our word, we'll allow you to have any form to begin, even a titanic one like Narzhak's, especially if it's fitting as in this case. Just be aware that being "the size of a mountain" will come with some disadvantages.

Sheet accepted! Well done and exemplary work; I'll look forward to seeing what you can do in the IC.

The Sphere: Under the soil, but not beneath the earth, a tempest beckons. A lethargic vortex of grey clouds constantly on the brink of pouring rain, wind and loose grave soil circles around a massive, levitating plateau, seemingly ripped from somewhere else. A careful and well-traveled observer could notice that despite the constant turmoil of Mourner's Hollow every gust of wind seems to blow towards a specific direction. Inwards. The central area, or The Wailing Valley, as it rightfully earned its' name, serves as the sphere's main landmass and measures only a few dozens of miles in diameter, barely supporting a forest of gnarled, withered trees and a prominent deep gray mesa at the very middle. The surrounding geography, if it can even be called such, takes after the Valley in form, but not entirely in function.

While the Valley certainly has the air of an imposing and uninviting place, the countless islets drifting about the ever-brewing storm can evoke a multitude of different feelings. Though uniform in the peculiar logic that defines them, and never free from the dampened, silvery light that in other worlds, would come from some cloud-obscured sun in its' final few hours, appear almost dreamlike. Something about these clumps of rock and soil, sometimes crookedly floating through ever-rolling clouds, inspires a deep nostalgia in the beholder, as if they are reliving some long-lost memory, and invite them to further lose themselves within. This, however, can be a perilous pursuit, as distance, form and size are malleable concepts in the Hollow, and what can initially appear as a small innocuous cluster of rocks and shrubbery could reveal itself to be a labyrinthine mass of briars and dead elms once a few steps are taken.

Aside from tall grass and vines, and the rare lonely flower, very little grows naturally in this place. Indeed, most of the things one happens across seem to have somehow appeared where they stand, and mysteriously reconstitute themselves if left unobserved for too long. Eternally disheveled cottages, or parts of villages, half-materialized cemeteries and dying treelines give the impression that they themselves, as well as the islets upon which they stand, are not solid features of stone and wood, but idealized and isolated figments of singular, or perhaps collective psyches.

Though a forlorn corner, Mourner's Hollow is closely connected with Galbar, being an almost parallel sub-reality. The simplest ways it could interact with other spheres can take the form of constant, but not necessarily violent winds that bring about an unnatural cold and a deep melancholy in any sentient creature. In places where the sphere's influence is stronger, the dead sleep lightly, and find it easier to awaken and roam about, as they find their own emotions magnified to nearly unspeakable heights. The living do not remain unaffected too, experiencing strange visions and have their own characters slightly change to resemble those of the dead. Most disturbing of all, whenever the barriers between spheres grow particularly weak, places of variable size exhibit properties more akin to the Hollow than their own domain. Levitating objects, cold spots, overcast skies, and peculiar interactions from creatures of the other side all abound in these times and places.

Borders: Mourner's Hollow neighbors with the Pit of Trials, the realm of war and strife, resulting in the creation of the Killing Fields in the place where the two interact the most. A jagged battlefield comprised of thousands of nearly adjacent platforms, dry and cracked, serves as the ground of a perpetual war of all against all which intensifies the more one moves to the center. The more straightforwardly violent creatures of the lot are drawn there, mezmerized by perpetual warcries, clashing weapons and ever-circling crows.

Portfolio: Foe holds dominion over the force that compels a dead creature, corporeal or not, to break free from the natural cycle of death, and instead linger in realms that it was not meant to remain. Known as restless death, or Undeath, this condition is supremely difficult to reverse, although comparably rare, and rather complex. Undeath is a many-tiered ladder, with those unwillingly risen by artificial means standing firmly at the bottom, and those who refuse to pass on due to sentiment or will near the top. Though Foe cannot cause a creature to leave the natural cycle on his own, he taps into those with the predisposition to remain, and facilitates the process, integrating said souls into his domain.

Naturally, all independent undead creatures have a connection with Mourner's Hollow, depending on their respective strengths of character. The lost and confused apparition of a little girl only has a rudimentary connection to Foe's realm, and thus proves more difficult for Foe to possess, but a wailing banshee is, knowingly or not, already claimed. Once firmly attached to Mourner's hollow, a restless creature becomes an integral part of it, as if it was always meant to be there, and never quite leaves, instead standing between two worlds, even if it finds itself on a different sphere. As such, it is almost impossible for an undead creature to manifest or maintain its' presence in the upper parts of the cosmos, and always returns to the Hollow once destroyed.

Yet, even the spirits of the dead are plagued by the ever-present and much loathed fraying of the soul, and the ones unlucky enough to remain out of Foe's reach find their sanity and form unwinding, gradually transforming into weak shells of their former selves, or monstrous, mindless creatures futilely fighting against entropy before finally coming undone. Foe's compassion is infinite, however, and all lingering souls are welcome in the Hollow. Once they enter, they find their condition paused, forever remaining in the state they entered. Though they may deteriorate, in some cases quicker, if they somehow manage to leave the Hollow, the sphere can gradually restore any audacious ghoul or spectre to the condition it was when it originally entered Foe's domain.

Often considered a perversion of natural order, the trappings of undeath appear not only in the creatures themselves, but in small, localized events controlled instinctively by the various afflicted. Depending on the source, a number of occurrences can take place, including poltergeist effects, cold spots, isolated gusts of wind, and even such bizarre things as bleeding walls. All of these, of course, mimic the workings of Mourner's Hollow in one way or another, and as such, Foe himself is a master at creating them, to a far greater extent than his flock.

Persona: To spit in the face of entropy, to rage against the seemingly inevitable, to lose oneself in weltschmertz and go beyond. That is the nature of the Restless Death, and of the ever-grieving god of undeath. Dragged into a world that he does not approve of, and set to bring about events he does not care for, the self-proclaimed Foe hid itself in the low-hanging mist and loose soil of the first graves, away from prying eyes and grand ambitions. As he wallows in his own self-imposed isolation, he greedily, almost by instinct, snatches the spirits of those that resonate with him and surrounds his person with them. He covets them, yet thinks of these creatures not as servants, or playthings, but as a measure of company, solace perhaps, against an otherwise diabolical cosmos.

Though he languishes even in his own domain, and remains temperamental at the best of times, Foe approaches all matters with a subdued, and highly sardonic attitude befitting one who cares little for the affairs of the living. That changes somewhat when the dead come into play. With an almost fanatical possessiveness, he tries to hoard and safeguard as many of them as possible, and resents not only the passing of those who elude him, but the absence of what triggers the dead to linger in those that do not.

Appearance: Despite his godly nature, Foe forgoes any impossibly grandiose appearance, and instead prefers to appear as a wiry, levitating corpse above the height of most mortals, but not by any length gigantic. His skin is parched. grayish blue in color, and tightly stretched along his frame, revealing the curves and lines of withered musculature. Rudimentary articles of plate, rough and blackened, cover parts of the corpse's body, leaving much of his flesh bare, as well as his hands, the fingers of which seamlessly transition into bladed ends. Behind said armor, greyed and tattered scraps of pall and loose ends of tightly wrapped gauze emerge and flail eternally, as if stirred into motion by some unfelt current. The figure's head appears to be perpetually enclosed by a helm akin to a skull-shaped burial mask, with faded and shallow features. In stark contrast with its' dark colours, two shining eyes, revealed through holes torn in the burial shroud beneath, capture the viewer's attention in an almost mystical fashion. Unnaturally large in proportion, their irises resemble silvery-white coins, and stare with a cold unblinking intensity.