#aeora

[hollydolly69]

Cosmic elf yuri?

Aeora, queen of all light in the universe and Vanthe, creator of all dark matter in the universe

[inurclosets]

various ugk pieces i did for school

[bgpportfolio]

Just a little comic I did for my series, Tales of Aeora. This is from an upcoming chapter that hasn’t been released publicly yet -- but is coming very soon! Gotta say, I like how it turned out~

[auxiliodedeus]

Salmos 106

[bgpportfolio]

the Golden Elixir

“The most powerful drug, produced by the greatest alchemists, of our mysterious homeland. It is said that one drop contains a million, tiny gods and goddesses who’d allow you to hear the music of the spheres. Two drops and you’d be able to see things an ordinary human cannot perceive, glimpses of another world. But three drops, they say, and you would learn the secrets of life and death — yet stolen soul you’d be, embraced by those miniature deities.” Medeva tried to steal a glance through the tinted glass bottle and Emilia asked, “Do you want one?”

- Tales of Aeora (1.4)

Commonly called the Golden Elixir, but with various names in other languages, this is a rare drug harvested from a mysterious tree somewhere on the Islands of Ananta. The exact type of tree, and how the drug is cultivated, is not widely known -- but there are a select few (such as the priests and priestess of Knossos) who have passed down this knowledge for generations. 

[bgpportfolio]

These are a few screenshots from an opening scene of a short visual novel that I started crafting for the World of Aeora. Just posting these to see if people would be interested in something like this~

[bgpportfolio]

Sand Golems

Sight ●●●●○

Hearing ●○○○○

Smell ○○○○○

Strength ●●●●○

Speed ●●○○○

Intelligence ●●●○○

Basic Info

Classification: Construct (Kemetian)

Size: Amorphous 

Diet: n/a

Habitat: Sand golems are found in the deserts around Misram, and formerly across the nation of Kemet in its final years. The golems were constructed in Kemet, and therefore they have stayed generally close to that area — although a few have wandered off into the nearby countryside.

Social: Sand golems have no desire, or need, to be social; although sometimes they can be found in groups simply because that’s how they were stored or organized in the past.

Detailed Info

Predator / Prey Relationship: Sand golems have no need to eat or drink, and therefore are not really a part of the food web. They do, however, kill if they have been constructed, or ordered, to do so.

Appearance: The true form of a sand golem is simply the large, red eye found somewhere in their appearance. Using the sand, these constructs can blend and warp their bodies to almost any shape they desire (as long as it fits within certain size restrictions), but often take the shape of a humanoid. Many people believe that the humanoid form of a sand golem is their true appearance but this is not true. In fact, if you were to attack the sand within a sand golem’s body — it would have no effect at all.

Relationship w/ Humanoids: Sand golems were created by humans who lived in Kemet, Before the Destruction, who (according to legend) used dark schools of magic to bring the constructs to life. The process of creating a sand golem is fairly complicated, and has not survived to the modern day. Therefore, when all of the sand golems have been “killed,” they will go extinct since they’re unable to reproduce. However, many of the golems have been hidden underground and in secret chambers, meaning that it could be decades — or even centuries — before they wake up and arrive in the world. Sand golems were present, during the last years of Kemet, as a sort of military regime that could be used to keep the peace and defend the nation. However, for unknown reasons, many of the golems were sealed away (prior to the fall of Kemet) even though they would have been a powerful asset to the nation in its final days.

Natural Weapons: Sand golems are able to manipulate the sand, and fine dust particles, within a certain radius of their red eye. This allows them to construct a body, or form, out of sand — which can take many different shapes and sizes. Other than shapeshifting, the sand can be used as a weapon or a tool to capture prey. The sand can suffocate an opponent, or grind their body to dust, under the right conditions.

[bgpportfolio]

Tales of Aeora 1.6

🔷  Link

"An Analysis of Medeva’s poem, ‘Phrixus and Helle,’ in Relation to the Formation, and Orbit, of the Early Moons of Aeora”

By Thomas Apollinus, a member of the Society of Alchemists

Published in 622 A.D.

Summary

   "The following article attempts to reconcile the debate over whether or not Medeva had access to information regarding the formation, and evolution, of the early moons of Aeora (Phrixus and Helle). There is a modern-day belief that Medeva had access to secret knowledge through her mother, Luna, and the other gods. We argue, however, that Medeva had access to exclusive records on time-reckoning, through the Society of Alchemists, and that she used complex metaphors to describe relationships that she perceived in the natural world. Unfortunately, Medeva’s advanced metaphors (and perception of the world) led many to believe that she was not entirely mortal."

Article

Contemporary scholars wonder to what extent the ancients knew about the rotation, and formation, of the moons and planets in our solar system. When “Phrixus and Helle” was written by Medeva, sometime Before the Destruction (BD), ancient astronomers relied on three methods of calculating a year – one lunar, one solar, or a hybrid depending on the civilization. The country in which Medeva lived is unknown, but historical evidence indicates that it rested somewhere between the ancient empires of Kemet and Valentia (1). The system of time reckoning for both of these civilizations is beyond the scope of this essay, but it should suffice to say that Kemet relied (primarily) on a lunar calendar while Valentia dated their months according to the sun (2). Claims by Medeva, and her supporters, that the poem was presented to her by the spirits of the two moons – Phrixus and Helle – has prevailed into modern theological discourse. However, it seems far more likely that the poem was written using the knowledge of time calculations of the Kemetian and Valentian empires, as well as Medeva’s own knowledge concerning the formation of the moons based on her study of her former husband’s research.

The structure of the poem indicates that Medeva had some knowledge about the orbit of the moons, but to what extent is still debated. For example, each stanza is introduced by the name of a season associated with the solar year. Scansion of the poem’s form and meter, however, indicates that each stanza is made up of thirty feet of either iambs or trochees (depending on the season) plus a triplet of twenty feet at the end, or 140 feet in the entire poem, which suggests that Medeva refers to a lunar year in her work (which is comprised of 140 months and begins with the total eclipse known, to the ancients, as the Morte Kalendis — described in line 24). Her follower’s assertions that the poem was a revelation sent by Phrixus and Helle are completely unfounded; still, there is clear indication that Medeva was aware of the months in a lunar year and that they were somehow related to the seasons.

During Medeva’s lifetime, there were several groups who devised calendars based on the phases of the sun and the three moons. Many of the early calendars, specifically those in Kemet and Valentia, influenced our own modern systems of time reckoning. In the temples of the Khonsu, in Karnak (where Medeva is rumored to have visited), ancient astronomers began their lunar year at the day of total eclipse (2). Furthermore, the Society of Alchemists started to observe the orbit of the moons and developed our modern system of date-keeping. Jason would have been aware of these developments and might have shared them with his wife, or Medeva might have stolen the information from her husband’s library when she fled the country. The poem could have been written sometime after her flight since the final couplet references a “paper boat” (lines 27-28). Due to the discoveries of her husband, and the Khonsu, Medeva could have been aware of the number of times Luna orbited the earth in one rotation of Phrixus (being 140 or the number of months in a lunar year). Rather than a vision transmitted by the gods, it seems more likely that Medeva wrote poetry inspired by the early scientific discoveries of astronomers such as her husband.

The records Jason kept, translated for generations by the Society of Alchemists, describe Medeva as a sorceress who didn’t reveal her true identity until years into their marriage. On the night that she was sentenced to prison, she fled her country on a boat across the Seventh Sea – stealing several rare and valuable documents from the organization archives before she left (4). Although Jason never wrote about the conclusion with his ex-wife, historical records (see the letters of various pirates off the coast of Elithrea) suggest that she traveled toward the coast of Kemet where she settled with the Khonsu. Scientists speculate that Medeva brought the records of Jason the Astronomer with her, transplanting them on the eastern continent and in the hands of Khonsu priests and priestess (thus adding to their own research concerning the movement of the moons).

There are some documents that make it appear as if Medeva had access to information about how the solar system was formed, however this has been pure speculation. Her assertion that Phrixus “burned as punishment, thick band of ash and sulfur tore apart the sky” (lines 11-12) and that before this a “grey light, reflected, showed” (lines 1-3) demonstrates that Medeva believed that the moon, Phrixus, was not always the swirling red and black that we see today. Modern science has revealed that, before a stellar collision in our moon’s past, Phrixus would have looked like a small Luna or (more likely) a large Helle. It is likely that several large impacts from a period of heavy bombardment pummeled the moon, causing its surface to rupture and spew magma, as well as form lengthy volcano ranges – leaving behind the burning, smoky atmosphere that we witness today (3). However, the Society of Alchemists weren’t even aware of this fact during Jason’s lifetime, and it is not clear how Medeva knew as much as she did about Phrixus’ ancient past. Scientists hypothesize that the asteroids and meteors that caused Phrixus’ crust to shatter occurred before the evolution of life, and is therefore put forward by zealots as evidence that Medeva was in communication with the gods. Such assertions give too much credit to Medeva’s artistic comparison between Phrixus and the moon, Luna. It would not have been a stretch for her to imagine Phrixus, especially if he were as personable as she suggests, having once looked like one of the other moons.

Another problematic piece of evidence — Medeva claims, at first glance in accordance with modern scientific discourse, that after he burned Phrixus “called his twin flame,” Helle (line 13). It is known that Helle and Phrixus were formed together during a probable collision between Aeora and a large stellar body billions of years ago, making them “twins” in a sense. It is likely, however, that Helle received a large portion of ice from Phrixus during the most recent period of heavy bombardment – causing its current, oceanic appearance. Once again, modern philosophers are baffled by how Medeva could have known these facts but the answer is simple: she didn’t know them. The description of Helle being summoned by Phrixus is a reference to their (obviously) dependent relationship in space. If zealots would peer more closely into Medeva’s work, they would note that her poetics are not a revelation but a metaphorical analysis of what she perceived in the night sky coupled with the knowledge she stole from early astronomers. The “mysterious” methods by which she obtained this knowledge was not divine or visionary, but a byproduct of human reflection on the natural world.

The author hopes that this article will dispel the assertions that Medeva was linked to a divine world and reveal, instead, that the ancients were more aware of their natural world than we used to believe. The relics found in Valentia, such as the Antikythra, as well as the records of the Khonsu, indicate that early man was more adept at time calculation than we previously thought. There is no evidence that Medeva was connected to a divine agent, or that she was aware of astronomical patterns and events, before the observations of the Society of Alchemists. Like the “lost cities of Yis and Lyonesse” (lines 9-10) that she describes in her poem, any “evidence” to the contrary is a fantastical and unsupported conclusion derived from the whims of a hopeful, new-age delusion.

Additional Sources

Mythologies of the Anantian People, Polek Helena (598 A.D.)

Ancient Calendars of Kemet, Timot the Builder (474 A.D.)

Modern Thought on the Destruction, Hiratio Derus (603 A.D.)

Analyzing Ancient Mythologies, Stephan Mendac (615 A.D.)