Ruby
09-06-09, 05:55 PM
Name: - Ruby La Roux
Alias: - Miss Ruby, Raven, Delacrouix
Age: - 29 (Appears early twenties).
Race: - Human
Nationality: - Scara Brae
Occupation: - Sorceress, Matron, Housewife
Allegiances: - Her Husband, The Tantalum
Accent: - West Country English
Appearances:

1835
Personality: Unlike her contemporary actors Ruby’s demeanour is somewhat cool and complacent, as if the life she leads was a mere breeze on a cool and sordid shore. Where others are quick to temper, the Crimson Mistress of the Tantalum satisfies the arguments of others with modest assumptions, well placed words, and a calming and empathic grace about her. She posses a somewhat melancholic sense about her, having resolved herself to the way of the world years ago; she is happy as much in joy as she is in disaster. Juxtaposed with this authoritarian field is a sprightly and youthful buoyancy, the likes of which you’d expect from children, or at least those many years younger than she. Succinct notions of spurious wisdom underline her façade, which is kept tight to all those except the most deserving of people; at such a time, only Duffy has truly come to see beyond the namesake, and of course, her husband and long standing victim of negligence and absence, Imago.
On love she is certain, there is no doubt in her speech and physical motions if ever the issue is raised. Ruby is a lover, a romantic, a deep seated fantasist who endures all for those shining moments of intertwined emotions. If ever a question is raised on such matters of the heart, encouragement to the truth is nearly always applied; of course, she is wise enough to know when such love is fleeting, when such a bond is unfrequented, and no more than a fabricated lie. Her matriarchal drive to care for those in need makes her a compassionate and altruistic individual, with the exception of those few moments a lady of the city is allowed. Constantly singing, constantly calm, constantly quick witted and multi-tasking, her persona in itself springs from her temple to give itself another life.
History: Nobody is sure from whence Ruby La Roux came, her birth and her childhood are as much of an enigma to her as any orphan on the streets of Scara Brae. Glittering remnants of memories have slowly returned to her over the years, allowing her the luxury over the remainder of the troupe in knowing a face from her distant past. A tall and handsome man with blonde hair and a calloused life of broken knuckles and sweat. Since the age of eleven she has found herself in the company of the troupe, and learned every aspect of her current life in it’s vibrant and vivaciously tart company. From the stitches on the hem of her dress to the woven tapestries in her home, no rodden pie has been baked without the guiding hands of the troupe’s matrons and loving, caring sisterhood. One is not to under estimate the women of the White Winged Circle, for they are taught to live, and also to steal and to fight in equal measure. Putting in her weight not only meant she cooked and cleaned and cared for the younger and older actors, but also, that she pad footed through the markets and squares cutting purses and seducing foolish and ignorant young (if not alluring) men for their wealth.
Around the same that the young and boisterous child named Bracken found his way into the company of dancers and whores, Ruby became a matriarchal image of goddess like responsibility. In the then Tantalum Jacob’s shadow she resided, learning the tantamount rules of being a wise and truthful yet stern leader of men and boys. Sun, sand, dust and sangria spent their dues, cascading Ruby’s mediocre and humble existence into the first performance of her own play. Part of her was transcribed to the page, and like each Tantalum that has ever been, she forged a pact, hastily scribbled onto the back of aprons and nappies, whatever she could find. Just as Jacob had written his first play during his apprenticeship to Narvon, and Duffy would learn the ropes under Ruby; Ruby found her heart’s second greatest desire in Jacob’s Ladder.
Lucian’s Call of six year’s ago began in the same exuberant and enigmatic style as it had always done; with a scream, a clamour, and a burst of fire through the streets. The performances of the troupes many small groups delighted and enticed the wandering children and casual acquaintances on street corners, happiness spread like the plague unheeded. In the secrecy of his under dark hovel, the fiend known once and always as Lucian Lahore turned his eye to the Crimson Mistress, and saw the same jealousy that had destroyed his own heart. Ruby adored Jacob, in all the ways under the stars and the moon, enthralled by his charisma, his determination and his alliance, she learnt with a great fervour what life and love truly meant. She did everything to please him, putting the troupe second to pleasing and idolising an unrealised dream. They performed the reprised roles of Marcus and Princess Cornelia together in the same square they did every year, in front of the Harbour Inn, and under the scrutiny of the ancient clock tower that served as the square’s pinnacle of authority.
She could not perceive the moment that the dagger struck Jacob’s shoulder, or the blonde man in the mask behind him, snarling over the lifeless corpse at her; ravaging her mind and all sense of belonging she had held. Amidst the screams and the dispersing crowd, Ruby began to sing. She sung a song she’d never thought herself capable of singing, and in an ultimate sense of irony, the man who took everything away from her, gave her instead a gift of divine magnitude; the gift of the Spell Singer. The vocals gave life to great swathes of fire, green roses sprung from nothing, and each turn of the chorus shattered portions of the stage and the cobbles on the streets. As the song grew in volume and emotion, the tears on Ruby’s cheeks seemed to embed in her skin, and as she sung of the birds of spring and of bloody dominion, feathers grew in her hair, and a single plume curled out from her brow. Such a mark still remains, accenting her bright red features further still; an effigy to her rebirth, the trials of Lucian giving her a new outlook on life, like a phoenix rising from it’s ashes.
The blonde man ran from the scene, but seeing Ruby gain a portion of his own power instead of suffering at his hands only drove Lucian into a deeper and darker sense of self loathing, his personality and body shattering into six equal halves, six ghouls of pure sorrow, and into the night once more, his own little word, the once great Tantalum fled from the truth.
Not wanting to lose anyone else close to her, Duffy soon became Ruby’s apprentice in the great fashion of the troupe. Time passes, and finally after two years had come to pass she found True Love once more. Although she has attempted to settle down and leave the troupe behind she finds herself drawn back inexplicably. This came as no surprise in secret to Duffy, for it was Lucian’s final insult, a bond to the troupe so great nothing could ever come before it. Her husband, on the verge of joining the troupe himself is a long suffering but understanding man, who waits for Ruby to come home from whatever wild performance or party she’s been dragged to this time. Ruby herself doesn’t know why she keeps going back, but Duffy, after two years in the reigns, is slowly gaining the courage to tell her the truth; tell her who killed Jacob, and who the blonde man truly is…
---
Spell Singer: (Dissonance Type).
Few spell singers walk the earth, few still know of it. The power to summon the aether with one’s voice, or one’s acting, or one’s motions in perfect harmony with oneself is a boon few receive, and certainly, one few receive willingly. How it manifests is unknown, except it appears to do so in moments of emotional turmoil of confusion and instils itself to that codex. Dissonance Type Spell Singing is purely vocal, with the exception of some heightening of control if physical, appropriate dance is performed alongside the singing. At present, Ruby is an average level spell singer, and has manifested several principle ways of harnessing this ability. I understand if this is too powerful as is, but a description will follow. Trial and error is needed, and it is important to highlight a small fact, you do not always get what you sing for, as the aether takes lyrics literally and does not always produce effects as required. Even though she starts with the following ‘coded methods’ they will not always be precise. I intend to keep this very ‘utility,’ more a descriptive method or way of adding spice; she is, as you can see, far from being remotely combat orientated. Good references are evidently, Dungeons and Dragon Bards, as well as the Spell Singer novels by Alan Dean Foster. It is linked to voice, and various other singing related abilities, I will carefully catalogue any attempts at new songs based on circumstances, and use the spoils system to request progress.
The Twilight Sonata: When singing a song of duality and of the seasons, Ruby can drain or increase natural or unnatural sources of light in the immediate vicinity. Candles and fireplaces snuff out or grow in ferocity, darkness grows ever darker, and the sunlight shines like the spring equinox’s heart. It is important to note that these effects are temporary, and the light sources affected by the sonata will return slowly to normal from the moment the song is stopped. Songs to sing to gain these affects typically are operatic arrangements or songs of dwindling love or periods of low activity, or bright, staccato melodies and spring lullabies. Does not require physical movement to instigate or maintain.
The Scintillating Song: In place of extensive fireworks or props, Ruby often sings a scintillating song of colour and change, which conjures moving lights, floating, glowing orbs and occasionally, if her voice is strong and charismatic and she sings of great trials and journeys, she can conjure fireworks from the air like a mage calling on the ether for guidance and aid. These are mere illusions, and although they create sound in their wake, they have no physical effect on matter, something many will perceive, so it can be used trustingly if called for, but causes no physical harm. This song requires physical movements, slight dancing, spiralling motions and the fireworks and lights require puppet like movement of arms to gain any degree of control. If left untended, the lights will move and respond to the emotions of the singer and the lyrics and strength of the song sung. Light hearted lyrics are used, folk tales and merry little ditties and hero filled verses that even the crowd will know keep these lights in the sky.
The Requiem Rampant: Offensive, concussive blows, ghostly limbs and vacuums. Incredibly draining and demands a certain level of anger or grievance. This is Ruby’s current method of defensive, singing of warriors and wars and of lashing out she can conjure small impacts, energy based fists and simulacrum attackers. Such instruments of the bard’s sharp tongue never inflict more than moderate damage, but it is a conducive ability - the great the peril and anger and the better the song, the more violent, and uncontrollable it becomes. Can injure herself as well as others.
The Assuring Assonance: Assures and allows minor emotional soothing and control within audible distance. Only affects those who with to be helped, such as crying teething children, love struck friends or fearful crowds needing re-assurance.
---
Skills:
The Domesticity Array: As a matron, a housewife and learned scholar of the scullery, Ruby is acquainted to an average level with most domestic chores and tasks associated with bringing up children and keeping a household in order. She can cook, clean, and act as a housewife and matron should. (More of a background summary than a skill in itself.) Her favourite dishes are Rodden Pie, Celiac Stew, and various salads. Much of her creativity resides, like Duffy, in her artistry with words, so her domestic life often takes the backseat, a very dusty backseat indeed.
Perform: Unlike Duffy, Ruby’s skill is purely in acting, dance and singing. She is above average in all of these. She knows common dances particular to Scara Brae, and several plays are memorised in her perfectly curious mind. She doesn’t do physical performances, and isn’t too quick; so won’t learn fast, but once it’s there it’s rock solid. She can sing in various styles and has a pleasant vocal array. She is a dab hand at impersonating other people too, nothing a skirt, new hair and a thrifty accent can't sort.
Equipment: Ruby owns little of note, of course, she has a house of her own in a modest avenue in the Docklands, in which can be found an assortment of domestic items, pictures, books, of course, her own plays and so forth. She has modest food supplies and trappings for light and moderate travel, and other things you might find in a modest abode.
The Tantalus Menagerie: A thousand and one costumes and theatre props of all descriptions, musical instruments and writing implements, books on playwrights and records of plays.
Wainright’s Heart: The elegant and well wrought necklace around Ruby’s neck contains a simple enchantment, although she does not yet know of it. It was passed down through the leadership of the troupe by Lucian, and in it is a prophecy, a well timed spell to help his dark plan come to fruition should he ever be given the chance. It is a spidery design, made of cheap but well stated metals.
Alias: - Miss Ruby, Raven, Delacrouix
Age: - 29 (Appears early twenties).
Race: - Human
Nationality: - Scara Brae
Occupation: - Sorceress, Matron, Housewife
Allegiances: - Her Husband, The Tantalum
Accent: - West Country English
Appearances:

1835
Personality: Unlike her contemporary actors Ruby’s demeanour is somewhat cool and complacent, as if the life she leads was a mere breeze on a cool and sordid shore. Where others are quick to temper, the Crimson Mistress of the Tantalum satisfies the arguments of others with modest assumptions, well placed words, and a calming and empathic grace about her. She posses a somewhat melancholic sense about her, having resolved herself to the way of the world years ago; she is happy as much in joy as she is in disaster. Juxtaposed with this authoritarian field is a sprightly and youthful buoyancy, the likes of which you’d expect from children, or at least those many years younger than she. Succinct notions of spurious wisdom underline her façade, which is kept tight to all those except the most deserving of people; at such a time, only Duffy has truly come to see beyond the namesake, and of course, her husband and long standing victim of negligence and absence, Imago.
On love she is certain, there is no doubt in her speech and physical motions if ever the issue is raised. Ruby is a lover, a romantic, a deep seated fantasist who endures all for those shining moments of intertwined emotions. If ever a question is raised on such matters of the heart, encouragement to the truth is nearly always applied; of course, she is wise enough to know when such love is fleeting, when such a bond is unfrequented, and no more than a fabricated lie. Her matriarchal drive to care for those in need makes her a compassionate and altruistic individual, with the exception of those few moments a lady of the city is allowed. Constantly singing, constantly calm, constantly quick witted and multi-tasking, her persona in itself springs from her temple to give itself another life.
History: Nobody is sure from whence Ruby La Roux came, her birth and her childhood are as much of an enigma to her as any orphan on the streets of Scara Brae. Glittering remnants of memories have slowly returned to her over the years, allowing her the luxury over the remainder of the troupe in knowing a face from her distant past. A tall and handsome man with blonde hair and a calloused life of broken knuckles and sweat. Since the age of eleven she has found herself in the company of the troupe, and learned every aspect of her current life in it’s vibrant and vivaciously tart company. From the stitches on the hem of her dress to the woven tapestries in her home, no rodden pie has been baked without the guiding hands of the troupe’s matrons and loving, caring sisterhood. One is not to under estimate the women of the White Winged Circle, for they are taught to live, and also to steal and to fight in equal measure. Putting in her weight not only meant she cooked and cleaned and cared for the younger and older actors, but also, that she pad footed through the markets and squares cutting purses and seducing foolish and ignorant young (if not alluring) men for their wealth.
Around the same that the young and boisterous child named Bracken found his way into the company of dancers and whores, Ruby became a matriarchal image of goddess like responsibility. In the then Tantalum Jacob’s shadow she resided, learning the tantamount rules of being a wise and truthful yet stern leader of men and boys. Sun, sand, dust and sangria spent their dues, cascading Ruby’s mediocre and humble existence into the first performance of her own play. Part of her was transcribed to the page, and like each Tantalum that has ever been, she forged a pact, hastily scribbled onto the back of aprons and nappies, whatever she could find. Just as Jacob had written his first play during his apprenticeship to Narvon, and Duffy would learn the ropes under Ruby; Ruby found her heart’s second greatest desire in Jacob’s Ladder.
Lucian’s Call of six year’s ago began in the same exuberant and enigmatic style as it had always done; with a scream, a clamour, and a burst of fire through the streets. The performances of the troupes many small groups delighted and enticed the wandering children and casual acquaintances on street corners, happiness spread like the plague unheeded. In the secrecy of his under dark hovel, the fiend known once and always as Lucian Lahore turned his eye to the Crimson Mistress, and saw the same jealousy that had destroyed his own heart. Ruby adored Jacob, in all the ways under the stars and the moon, enthralled by his charisma, his determination and his alliance, she learnt with a great fervour what life and love truly meant. She did everything to please him, putting the troupe second to pleasing and idolising an unrealised dream. They performed the reprised roles of Marcus and Princess Cornelia together in the same square they did every year, in front of the Harbour Inn, and under the scrutiny of the ancient clock tower that served as the square’s pinnacle of authority.
She could not perceive the moment that the dagger struck Jacob’s shoulder, or the blonde man in the mask behind him, snarling over the lifeless corpse at her; ravaging her mind and all sense of belonging she had held. Amidst the screams and the dispersing crowd, Ruby began to sing. She sung a song she’d never thought herself capable of singing, and in an ultimate sense of irony, the man who took everything away from her, gave her instead a gift of divine magnitude; the gift of the Spell Singer. The vocals gave life to great swathes of fire, green roses sprung from nothing, and each turn of the chorus shattered portions of the stage and the cobbles on the streets. As the song grew in volume and emotion, the tears on Ruby’s cheeks seemed to embed in her skin, and as she sung of the birds of spring and of bloody dominion, feathers grew in her hair, and a single plume curled out from her brow. Such a mark still remains, accenting her bright red features further still; an effigy to her rebirth, the trials of Lucian giving her a new outlook on life, like a phoenix rising from it’s ashes.
The blonde man ran from the scene, but seeing Ruby gain a portion of his own power instead of suffering at his hands only drove Lucian into a deeper and darker sense of self loathing, his personality and body shattering into six equal halves, six ghouls of pure sorrow, and into the night once more, his own little word, the once great Tantalum fled from the truth.
Not wanting to lose anyone else close to her, Duffy soon became Ruby’s apprentice in the great fashion of the troupe. Time passes, and finally after two years had come to pass she found True Love once more. Although she has attempted to settle down and leave the troupe behind she finds herself drawn back inexplicably. This came as no surprise in secret to Duffy, for it was Lucian’s final insult, a bond to the troupe so great nothing could ever come before it. Her husband, on the verge of joining the troupe himself is a long suffering but understanding man, who waits for Ruby to come home from whatever wild performance or party she’s been dragged to this time. Ruby herself doesn’t know why she keeps going back, but Duffy, after two years in the reigns, is slowly gaining the courage to tell her the truth; tell her who killed Jacob, and who the blonde man truly is…
---
Spell Singer: (Dissonance Type).
Few spell singers walk the earth, few still know of it. The power to summon the aether with one’s voice, or one’s acting, or one’s motions in perfect harmony with oneself is a boon few receive, and certainly, one few receive willingly. How it manifests is unknown, except it appears to do so in moments of emotional turmoil of confusion and instils itself to that codex. Dissonance Type Spell Singing is purely vocal, with the exception of some heightening of control if physical, appropriate dance is performed alongside the singing. At present, Ruby is an average level spell singer, and has manifested several principle ways of harnessing this ability. I understand if this is too powerful as is, but a description will follow. Trial and error is needed, and it is important to highlight a small fact, you do not always get what you sing for, as the aether takes lyrics literally and does not always produce effects as required. Even though she starts with the following ‘coded methods’ they will not always be precise. I intend to keep this very ‘utility,’ more a descriptive method or way of adding spice; she is, as you can see, far from being remotely combat orientated. Good references are evidently, Dungeons and Dragon Bards, as well as the Spell Singer novels by Alan Dean Foster. It is linked to voice, and various other singing related abilities, I will carefully catalogue any attempts at new songs based on circumstances, and use the spoils system to request progress.
The Twilight Sonata: When singing a song of duality and of the seasons, Ruby can drain or increase natural or unnatural sources of light in the immediate vicinity. Candles and fireplaces snuff out or grow in ferocity, darkness grows ever darker, and the sunlight shines like the spring equinox’s heart. It is important to note that these effects are temporary, and the light sources affected by the sonata will return slowly to normal from the moment the song is stopped. Songs to sing to gain these affects typically are operatic arrangements or songs of dwindling love or periods of low activity, or bright, staccato melodies and spring lullabies. Does not require physical movement to instigate or maintain.
The Scintillating Song: In place of extensive fireworks or props, Ruby often sings a scintillating song of colour and change, which conjures moving lights, floating, glowing orbs and occasionally, if her voice is strong and charismatic and she sings of great trials and journeys, she can conjure fireworks from the air like a mage calling on the ether for guidance and aid. These are mere illusions, and although they create sound in their wake, they have no physical effect on matter, something many will perceive, so it can be used trustingly if called for, but causes no physical harm. This song requires physical movements, slight dancing, spiralling motions and the fireworks and lights require puppet like movement of arms to gain any degree of control. If left untended, the lights will move and respond to the emotions of the singer and the lyrics and strength of the song sung. Light hearted lyrics are used, folk tales and merry little ditties and hero filled verses that even the crowd will know keep these lights in the sky.
The Requiem Rampant: Offensive, concussive blows, ghostly limbs and vacuums. Incredibly draining and demands a certain level of anger or grievance. This is Ruby’s current method of defensive, singing of warriors and wars and of lashing out she can conjure small impacts, energy based fists and simulacrum attackers. Such instruments of the bard’s sharp tongue never inflict more than moderate damage, but it is a conducive ability - the great the peril and anger and the better the song, the more violent, and uncontrollable it becomes. Can injure herself as well as others.
The Assuring Assonance: Assures and allows minor emotional soothing and control within audible distance. Only affects those who with to be helped, such as crying teething children, love struck friends or fearful crowds needing re-assurance.
---
Skills:
The Domesticity Array: As a matron, a housewife and learned scholar of the scullery, Ruby is acquainted to an average level with most domestic chores and tasks associated with bringing up children and keeping a household in order. She can cook, clean, and act as a housewife and matron should. (More of a background summary than a skill in itself.) Her favourite dishes are Rodden Pie, Celiac Stew, and various salads. Much of her creativity resides, like Duffy, in her artistry with words, so her domestic life often takes the backseat, a very dusty backseat indeed.
Perform: Unlike Duffy, Ruby’s skill is purely in acting, dance and singing. She is above average in all of these. She knows common dances particular to Scara Brae, and several plays are memorised in her perfectly curious mind. She doesn’t do physical performances, and isn’t too quick; so won’t learn fast, but once it’s there it’s rock solid. She can sing in various styles and has a pleasant vocal array. She is a dab hand at impersonating other people too, nothing a skirt, new hair and a thrifty accent can't sort.
Equipment: Ruby owns little of note, of course, she has a house of her own in a modest avenue in the Docklands, in which can be found an assortment of domestic items, pictures, books, of course, her own plays and so forth. She has modest food supplies and trappings for light and moderate travel, and other things you might find in a modest abode.
The Tantalus Menagerie: A thousand and one costumes and theatre props of all descriptions, musical instruments and writing implements, books on playwrights and records of plays.
Wainright’s Heart: The elegant and well wrought necklace around Ruby’s neck contains a simple enchantment, although she does not yet know of it. It was passed down through the leadership of the troupe by Lucian, and in it is a prophecy, a well timed spell to help his dark plan come to fruition should he ever be given the chance. It is a spidery design, made of cheap but well stated metals.