Naamit (prime)

Naamit Braggiani DMonica Race [[Giantman]] Class Herald Profession Bard Religion Order of Mularos Affiliation(s) Member of Silvergate Inn Disposition Peevish and impulsive Demeanor Reserved Flaw dismissiveness Habits shifting weight from one hip to another Hobbies loresinging, writing religious hymns, collecting whips, painting and drawing Likes whips, tea, whips, blood Dislikes roses, flowers, elves

[[Category: Giantman player characters]]

Naamit Braggiani DMonica (formerly Naamit DMonica) is a giantman bard and devout follower of Mularos. She resides at an estate outside the elven city of Ta'Illistim. She is an avid collector of whips and among her extensive collection, Holy Scourge is the most famous. She took the last name Braggiani in deference to apparent human ancestry in her bloodline, which she discovered after obtaining the legendary weapon.

Described by some as an iron fist in a silken glove, Naamit is both charismatic and ruthless. She has a particular dislike for the smell of roses and if left long enough, the scent will drive her into a maddened rage. She is keenly interested in learning secrets so Loresinging (as a utilitarian benefit of singing) is a natural fit for her. Naamit does not sing for pleasure or audience.

Naamit is a Master Painter.

History

Naamit arrived to the lands late in 5096 and took up residence in Wehnimer's Landing. She was married to Lord Tabalt, a dwarven warrior, for about a year in 5097 until his unexpected death following a lucrative business deal. She later married Lord Reveko, a giantman ranger, in a business venture, however he vanished under questionable circumstances sometime between 5099 and 5100. She moved to Ta'Illistim in 5101, though she still owns a home in Wehnimer's Landing. She fought on the side of the Dark Alliance during the Griffin Sword Saga. Naamit previously led a cult known as the Harem Dzosch; the group faded into obscurity upon her disappearance in 5106.

Naamit returned to the Elven Nations in 5116 after a decade-long journey of searching for any possible remnant of Harith Caerines, the self-ascribed Whip of Mularos, whose soul she rescued (albeit temporarily) from the Pale in 5103.

Appearance

It is difficult to get a good look at Naamit due to the number of mirror images of her nearby.

You see Mistress Naamit the Herald.

She appears to be a Giantman.

She is shorter than average. She appears to be in her golden years. She has piercing vibrant green eyes and pale, alabaster skin. She has thick locks of long, glossy black hair flowing down her back. She has an angular face, a prominent nose and a fleshy, muscular build with generously proportioned hips. She has a myriad of thin chain-shaped scars running across her exposed flesh.

She has a deep black ring of finely polished glaes in the middle of her nose, a deep black ring of finely polished glaes in her lip, a faint scar on her neck, and a tattoo of a crimson heart pierced with a silver dagger on her chest.

She has terrible, permanent mutilation of her abdominal muscles.

She is holding a barbed white ora whip with a cross-like handle in her right hand.

She is wearing a sparkling black lace mantilla, a leather-hung gnarled bone amulet, a trailing crimson velvet cloak with a broad mantle of black-speckled white ermine, a black iron symbol wrapped in white leather and embossed with a blood-red heart, a halter of supple black leather clasped at each shoulder with a silver buckle, a reinforced black leather girdle, a stiff black leather bag, a ruffled black taffeta skirt, a flounced black petticoat, and some polished thigh-high spike-heeled black leather boots.

Publications

Mularosian Cadance. Gloumerrick Publishing House, 5103

Painting

By way of a painting easel.

A Bench Painting

Slanted at an angle with no regard for perspective, the bench on the canvas would likely roll its occupants to the ground were it real.

In the Common language, it reads:

"Sit With Me" -- by Naamit

A Heroic Giantkin Male Portrait

Standing valiantly in the foreground of the painting with his foot planted atop a deceased six-headed maple turkey king is the image of a giantkin man gazing across an open field, his black craquemarte raised high above his head. Grey swirls are lightly sketched across an open black sky, and a full moon's faint outline is scarcely visible beneath the veil of ominous-looking clouds.

In the Common language, it reads:

"A rendition of Heartfire Durden" -- by Naamit

A Sultry Aelotoi Male Portrait

Sprawled out across a chaise is the reclined image of an aelotoi male, his crimson-veined luminous yellow eyes turned outward in a sultry gaze. Painted across the canvas backdrop are rows of stark white candles with brilliant yellow-orange flames, the light reflected perfectly in the model's eyes.

In the Common language, it reads:

"A rendition of Cruxophim" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Mounted on a pike right through the chin and protruding through the skull, the face of a shriveled halfling stares vacantly ahead. The polee's path might be visible, were it not for a moldered muffin crammed in the creature's gaping maw. Ribbons of skin cut from the cheeks are drawn up above its head and wrapped around the pike's tip in a floppy bow.

In the Common language, it reads:

"Muffin Man, 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red and thoroughly distressed. It's apparent the banshee depicted has one foot in the grave and the other in Luukos's maw. Skin is shriveled upon its crooked frame and dark scarlet flames erupt from bloodied eye sockets. A few braids of chin-length, wavy hair cling to its rotting scalp, while a piece of barbed razern chain is affixed to the canvas as if fused to the bone of its right wrist. What's left of the apparition is cloaked in a pitifully tattered robe.

In the Common language, it reads:

"H.C., 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted in three-quarters view, facing a short, scarred giantwoman with a girdled waist. Her face is devoid of expression. The man's massive craquemarte is held outstretched before him, as if in offering to the female, whose hands are occupied by a whip made of chain. Deeply scrawled, stylized flames mar the bottom third of the image, yet it's clear the man is kneeling.

In the Common language, it reads:

"Willing Participant, 51170429" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman is depicted amid a mountain of decimated creatures. Limbs, heads and ribcages flayed of flesh and meat surround the man. The massive craquemarte in his right hand is raised high in a mighty, defiant pose despite a complete lack of emotion on his face. Deeply scrawled, stylized flames mar the pile of carcasses in bottom third of the image.

In the Common language, it reads:

"Measure of Progress, 51170430

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A tall and robust giantman stares blankly ahead without emotion. His left hand sits aloft on the hip and his stance is curiously wide. A massive craquemarte is held firmly in the figure's right hand, though angled downward toward a heap of dead elves at its feet. Deeply scrawled, stylized flames mar the pile of bodies in bottom third of the image.

In the Common language, it reads:

"Submission, 51170429" -- by Naamit

an elaborate gold-framed painting

The three-by-three square painting is a mostly monochromatic, murky sanguine hue. Silhouettes of shattered swords and shields are scored one over the next in the highly texturized artwork, revealing a confusing underpainting of black and white striations. High gloss tracery along the edges of some shards makes them visually pop amid the geometric chaos. Two tally marks in thick-bodied raw sienna stand out in the lower left.

In the Common language, it reads:

"Vibrato I, 51170430" -- by Naamit

an elaborate gold-framed painting

The description of this image is unavailable, however a corroded, greenish patina covers the gold frame giving it a less than prestigious appearance.

In the Common language, it reads:

"Ivastaen Rising, 51170503" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A woman's round, closed-eyed visage hangs immediately beneath the conjoined bough of two haphazardly drooping yews. The trees' roots climb back upward with long, crooked appendages that grasp for the curiously suspended face. A stream of tiny ravens swoop out from beneath the moon, skirting between the scraggy woody fingers and right toward the foreground.

In the Common language, it reads:

"Lucidity I, 51170505" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The artwork is mostly devoid of imagery, save for a small, balled up child staring blankly ahead who is tucked away in the distant corner of an otherwise stark room. An off-kilter window sill is painted around a hunk of reflective material affixed to the canvas on the right, while heavy striations along the foreground suggest rotting wood floors.

In the Common language, it reads:

"Watch Her, 51170505" -- by Naamit

an elaborate gold-framed painting

The artwork is a composed of flexible willow switches wound and manipulated one over the next in a web-like lattice suspended in thick layers of crimson beeswax. A convoluted motif of chevrons is carved back through the wax in low bas-relief, which culminates in the lower left where a shriveled, sickly blossom is embedded deep within the image's honeyed surface. The golden frame is heavily abraded.

In the Common language, it reads:

"Waning I, 51170507" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. A ribcage and spine, devoid of meat and organs, grace the center of the canvas. The vertebrae are assembled in a crooked fashion while the right ribs are bent outward at an unusual angle. A deflated assemblage of what might be skin is piled at the bottom of the image alongside a trail of viscera. Bone shards are carefully arranged along the painting's golden frame.

In the Common language, it reads:

"Inside I, 51170507" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. An aged human man with long hair that is lighter hair at the temples, kneels in a three-quarter pose. Cradled in his palms just before his sculpted carmine leather cuirass is the wrist of another, whose forearm extends off to the left edge of the image as if it was the viewer's own. His posture shows restraint, yet moonlit eyes reveal considerable interest in the bloodied appendage before him.

In the Common language, it reads:

"Whet I, 51170509" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights and is rendered in first-person view. The foreground contains a pair of scarred and shapely thighs that are bent at the knee. Rows of unintelligible scrawling mars the subject's left leg. The raised platform of a chopine is visible far to the right, suggesting the subject is haphazardly slumped on the ground. Atop the knees rests a similarly scarred, thick right arm and utterly limp, outstretched hand.

In the Common language, it reads:

"Tribulation I, 51170513" -- by Naamit

an elaborate gold-framed painting

The painting is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. The landscape image closes in on a defaced stone crest of the House of Illistim. The veiny, marble symbol is in three pieces; the first is heavily scored, the second seems scorched, and the third portion is speckled with a deep sanguine. Gravel ground surrounds the ruined medallion, which leads off to the distance where chunks of stone are strewn about in this scene of mass architectural destruction.

In the Common language, it reads:

"Vibrato II, 51170513" -- by Naamit

an elaborate gold-framed painting

This artist's proof is a monochromatic red, ranging from a murky sanguine hue to pale carmine in the highlights. Focused on a massive vat, only the matted scruff of a creature's head is visible above the steaming, burbling surface. A small, withered arm several missing fingers is flopped lifelessly over the edge of the vessel. The foreground is taken up by vaguely rendered heaps of herbs, an assortment of butcher's knives, a pair of wine glasses, and an artfully posed dead hare.

In the Common language, it reads:

"Cover for Cookbook, 51170520" -- by Naamit Braggiani

an elaborate gold-framed painting

The description of this image is unavailable, however the frame is dulled to minimize distraction from the imagery.

In the Common language, it reads:

"Bloom I, 51170520" -- by Naamit Braggiani