Plot Notes
Religion: A Deeper Look
VERY relevant to where her character is being driven, and all things that I need to explore further in thread.
Gods that she worships personally are primarily those that were influenced by her family and childhood, as she has had no particularly life changing events since her marriage, and both her parents were deeply religious in very different ways.
She is devoted to these Gods and Goddesses in varying amounts, and will often go through phases of reminiscence where she will be unusually thoughtful of them from months to weeks. Her attitudes and beliefs are heavily linked to the way she was introduced to them.
Although it should be noted that she invokes the name of Gods and Goddesses, and asks them questions or makes comments in ways that may be considered prayer - she herself does not take part in explicit acts of praying that are beyond.
Mother: Marnie FieldingHer mother was a gifted performer of all sorts, and dabbled in as many different circus crafts as one needed to survive. Uneducated, illiterate, and alone, she resorted to what she had in order to survive. She was no traditional worshiper of Rhysol, and was in fact born in Lhavit. She poured religion into Morag as the girl grew up, as she felt her own life was too devoid of depth to convey meaning.
- Ivak: Celebrated as Marnie believed in freedom of emotion and clarity, as well for the fire dance and juggling she often performed, Morag's shared affection of Ivak formed the strongest bond between the two. Marnie told tales of the Valterrian as though they were a great tragedy, and it was to the beauty and heat of fire that Morag was often drawn. Throughout her everyday life, Morag is mindful of the power of pent up emotions particularly as she works- for so many negotiations are spoiled by the feelings of another.
- Syna: Being born in Lhavit, Morag's mother often told stories of the city she grew up, a shining world of place of spires skyglass. As a child, Morag was taught that the best performances were those that were carried with the intention to bring joy, and that taking joy was just as important. Her wedding was held at high noon, and she sent her joy and love on the day to Syna. Worship of the Sun Goddess has been sorely missing of Morag's life in her most recent years.
- Rhaus: As a performer and story teller, it was almost natural for the celebration of Rhaus to be one of the daily givings of Morag's childhood. It wasn't often for a day to pass as a child that there wasn't a story or song sung, and it is this God's dwindling frequency in her life that Morag feels most keenly. She cannot tell if her feelings mirror the truth, or if it is the power of memory, but she is yet to hear a song or instrument played as her mother did.
Father: LwinLwin's life was one with his craft. He loved his work, and lived through it. He was in general a man of great kindness and devotion, and worshiped those that help his creativity and character. He had no interaction with Morag in her early life, and it was not until Marnie gave him custody of his daughter that he knew of her existence, and the girl's appearance reminded him too greatly of himself, and his long gone mother for him to argue parenthood.
- Semele: in his jewel crafting, he came to have a profound appreciation for the earth, its minerals, and its abilities. He instilled the wonder upon Morag as they awkwardly got to know each other. He showed her his gemstones, how he made them into jewelry, and taught her of Semele's domain. Since her father's death, it is Semele that Morag more closely worships, and through gemstones that she maintains her relationship with her father.
Aunt: SeraAs religious as the family was, it was often the evocation of Gods that are generally considered darker that Morag's aunt generally attacked her with. Morag's appearance was a disruption to the perfectly cultured world that Sera lived in- who had, up until that point, happily taken advantage of the kindness and wealth of her younger brother. As Morag was quick of wits, and did not withhold her thoughts on the woman's shady morals, the hateful woman resorted to devaluing and attacking the girl's character. She likened the young woman's childhood to one of thievery and filth, her confidence as manipulative and her curiosity as underhand. Out of spite, in the woman's coming of age, came a rebellious and open worship of the Gods and Goddesses that she was shunned beside.
- Yshul: Sera considered Morag's mother to be one of "Yshul's whores" - a brigand, a thief, someone who used petty tricks and favours to fool Morag's father into bed with her, and then tied him down with pregnancy. It was out of the girl's own curiosity that she learned more of the Goddess, and she often keeps the Goddess in mind when entering market places- however little pays the Goddess much thought otherwise. She never found herself valuing or in need of coin enough to turn to common thievery, however does admit to the art that comes with sleight of hand.
- Sagallius: Following the vein of her attempts at undermining her persons, Sera often likened the girl's behavior as fitting of Sagallius, that Morag could trick her father into her innocence, but she couldn't fool her aunt. In truth,
the attorney did grow into appreciation for the God of Puppeteers, as she works in an industry where she is constantly speaking half truths, and follows each law to the letter as she attempts to turn their spirit. - Akajia:Even at as a teen, Morag felt like her aunt's gripes to the Mistress of Shadows a long shot. When Morag first began to take interest in the practicing of the law around the age of fourteen, her aunt saw the action as some attempt to get away with something- that the young girl had caused something, done some ill or was thinking about it, and was cunning some plan to get out it. In truth, the young girl was good at arguing, and thought it time she made money out it.
