demonology
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the family.
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what is this?
a thread for open-world roleplay to occur, allowing you to write smaller group posts, solo drabbles, etc.mood
[music]π»ππππππππ π€ ΰΏΰ½΄ΰΎ
Β» 158 Metiv Ave.
The current studio the Reverie Company uses for lessons, rehearsals, etc.
Β» 160 Metiv Ave.
The Popova family home that offers shelter to all members of The Family.
Β» 186 Ulitova Way
The Yunic Theater that the Reverie Company frequently performs at, almost exclusively.
Β» 184 Ulitova Way
The former Reverie studio that has since been modified to a historical museum, chronicling the Company's achievements.
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A towering home, its style common to Telorev, converted to a dance studio approximately eighty years prior. Three dance studios went in on it equally, including The Reverie Company, Twinkle Toes Dance, and Grayco Studios. The latter two never anticipated aging beyond simply schools to teach, while the Reverie Company sought to expand beyond its preliminary reach. The Company had been in the dancing world for quite some time, reaching sizable success though never catching a glimpse above teaching the greats. No, the Popovas were greats, and they were to make them, too. Miss Daryna Popova's grandmother and former matriarch made this clear as she bought the building with her partners and quickly turned it into a tourist spot. While people do not commonly know of the studio's exact location, it is still common to find journalists slinking towards the now-old building in hopes of securing an interview with one of the strange darlings of one of the most infamous and well-respected studios on all of Kelova. For this reason, the front door is rarely used, always locked. The entrance up the balcony on the side of the building is more commonly used, hidden away behind a gate no one can enter without the pin. The building, as a whole, is quite old, though well cared for. When the Popovas bought the rest of the building, they ensured this to be true. With no more arguing over who got more of the space and paying for repairs other studios caused, particularly the tiny tots of Twinkle Toes, the family set aside funds to redo all the floors, the windows, the infrastructure, etc. The original paint color was left, simply washed down at a steep price. When Daryna Popova took the helm, she issued more refurbishments: repairing the spikes on the towers, installing a surprising amount of gargoyles and security cameras, opening up the waiting area to be more inviting to plebeian clients, etc. Most importantly, she's made the studio both a sign of prestige and a continuation of The Family's worship.
Β» Room 1a
A typical dance classroom. The oldest of rooms owned by the Popova family, prior to the Company taking over the entirety of the building. With floors of deep plywood, replaced ten years prior, the ballerinas will often complain of its old look and fool. As such, Room 1a has fallen out of style, though it is used for overflow and as the first-choice of room to enlighten those with pockets deep enough to afford a one-off lesson with the Headmistress.
Β» Room 1b
For no real reason, Room 1b is typically the most popular classroom. It is just as old as Room 1a, in terms of how long the Reverie Company has owned it. However, it is much larger with three walls covered in floor-to-ceiling mirrors and bars. The fourth wall is adorned with vertically-barred, ornate windows with stained-glass centers. They depict the first pointe shoes worn by a worshiper of Mother. The first Kindred. They are black slippers, though the glass is simply a deep navy in direct light. Around the pair are spindles of green vines that bleed and bloom the buds of purple morning glories. Some say that it is because of these windows that the dancers feel so much more endowed and venerative whilst working. Daryna Popova appears to prefer 1b for a similar reason.
Β» Room 2a
A room most similar to Room 1a. It is a smaller classroom intended for learning, as opposed to big production rehearsals. It is most common to find small groups practicing particular numbers.
Β» Room 2b
Similar to Room 1b, 2b is highly popular amongst solely the students. This is primarily due to the fact that 2b sits apart from its fellow secondary room. Of similar size and status, particularly with the same window adornment, Room 2b holds a final point that sets it apart from its brethren: the door along the back wall, amidst the windows, that leads to a balcony (perfect for a quick smoke or sip of soap spirit) and a staircase that spindles all the way down from the second floor of the thin building. Perfect for when an ingenue is running late or when someone has to sneak out, 2b is the best classroom according to most within the Company.
Β» The Steeple
It is perhaps most odd to house a place of worship alongside the enchanting melodies and footwork of the Reverie Company, but it wouldnβt be fitting anywhere else. A small room with wood-paneling for the walls and pock-marked with windows akin to the ones found in Rooms 1b and 2b. However, the stained glass is more intricate and profound, detailing a story in pictures. The first window to the left upon entry is the same as all the others, but the next one depicts a black hole, and the next shows hands pouring blood. On the right wall, the farthest window depicts a rising swan, half-black and half-white, while the following one shows two pairs of slippers, ending in the sigil of Mother: her blackened slippers coated in vines and purple morning glories. At the back sits the place of worship, with kneelers for those looking to act in praise and a pulpit for the High Priestess to stand at. The room is covered in white, black, and purple fabrics while morning glories are grown to flow up and around the pulpit and the wall in the back. A set of wings, made of silver and gold, are laid above the pulpit, presumably a replica of Motherβs. The twinkle of white Christmas lights are the only source of light, besides the windows and cinnamon-scented candles. Dances are not held here, though soul-tying ceremonies or honorings occur here. With three tiny rows of benches flowing from the pulpit, the most common use of The Steeple is for daily worship and weekly meetings. Confession occurs during these weekly meetings, though there is a surprising lack of worship done. They mostly serve as a forum for discussion and planning of upcoming events.
Β» The Baths
Off from the locker rooms and connected via the same hallway as the Steeple, the baths are largely ceremonial, though used daily. Primarily, they serve as the showers for all dancers, though there is a section reserved solely for a set of porcelain tubs and three carts of essential oils and various other scents. The reasoning for its existence is quite simple: it is a tenant of Motherβs Wisdom that all her disciples adorn themselves in scents that better tie her to the earth, that not only that, it is important to practice good hygiene. Largely regarded as the silliest of Her rules, most dancers use it as an elevated shower room.
Β» The Lockerooms
A simple locker room. Lockers line the walls with bathrooms and changing rooms available. There is a solid, tiled wall that separates the sections by gender, though unfortunately the girls must pass the boys on the way out. As a solution, Miss Popova put up a paper divider.
A typical dance classroom. The oldest of rooms owned by the Popova family, prior to the Company taking over the entirety of the building. With floors of deep plywood, replaced ten years prior, the ballerinas will often complain of its old look and fool. As such, Room 1a has fallen out of style, though it is used for overflow and as the first-choice of room to enlighten those with pockets deep enough to afford a one-off lesson with the Headmistress.
Β» Room 1b
For no real reason, Room 1b is typically the most popular classroom. It is just as old as Room 1a, in terms of how long the Reverie Company has owned it. However, it is much larger with three walls covered in floor-to-ceiling mirrors and bars. The fourth wall is adorned with vertically-barred, ornate windows with stained-glass centers. They depict the first pointe shoes worn by a worshiper of Mother. The first Kindred. They are black slippers, though the glass is simply a deep navy in direct light. Around the pair are spindles of green vines that bleed and bloom the buds of purple morning glories. Some say that it is because of these windows that the dancers feel so much more endowed and venerative whilst working. Daryna Popova appears to prefer 1b for a similar reason.
Β» Room 2a
A room most similar to Room 1a. It is a smaller classroom intended for learning, as opposed to big production rehearsals. It is most common to find small groups practicing particular numbers.
Β» Room 2b
Similar to Room 1b, 2b is highly popular amongst solely the students. This is primarily due to the fact that 2b sits apart from its fellow secondary room. Of similar size and status, particularly with the same window adornment, Room 2b holds a final point that sets it apart from its brethren: the door along the back wall, amidst the windows, that leads to a balcony (perfect for a quick smoke or sip of soap spirit) and a staircase that spindles all the way down from the second floor of the thin building. Perfect for when an ingenue is running late or when someone has to sneak out, 2b is the best classroom according to most within the Company.
Β» The Steeple
It is perhaps most odd to house a place of worship alongside the enchanting melodies and footwork of the Reverie Company, but it wouldnβt be fitting anywhere else. A small room with wood-paneling for the walls and pock-marked with windows akin to the ones found in Rooms 1b and 2b. However, the stained glass is more intricate and profound, detailing a story in pictures. The first window to the left upon entry is the same as all the others, but the next one depicts a black hole, and the next shows hands pouring blood. On the right wall, the farthest window depicts a rising swan, half-black and half-white, while the following one shows two pairs of slippers, ending in the sigil of Mother: her blackened slippers coated in vines and purple morning glories. At the back sits the place of worship, with kneelers for those looking to act in praise and a pulpit for the High Priestess to stand at. The room is covered in white, black, and purple fabrics while morning glories are grown to flow up and around the pulpit and the wall in the back. A set of wings, made of silver and gold, are laid above the pulpit, presumably a replica of Motherβs. The twinkle of white Christmas lights are the only source of light, besides the windows and cinnamon-scented candles. Dances are not held here, though soul-tying ceremonies or honorings occur here. With three tiny rows of benches flowing from the pulpit, the most common use of The Steeple is for daily worship and weekly meetings. Confession occurs during these weekly meetings, though there is a surprising lack of worship done. They mostly serve as a forum for discussion and planning of upcoming events.
Β» The Baths
Off from the locker rooms and connected via the same hallway as the Steeple, the baths are largely ceremonial, though used daily. Primarily, they serve as the showers for all dancers, though there is a section reserved solely for a set of porcelain tubs and three carts of essential oils and various other scents. The reasoning for its existence is quite simple: it is a tenant of Motherβs Wisdom that all her disciples adorn themselves in scents that better tie her to the earth, that not only that, it is important to practice good hygiene. Largely regarded as the silliest of Her rules, most dancers use it as an elevated shower room.
Β» The Lockerooms
A simple locker room. Lockers line the walls with bathrooms and changing rooms available. There is a solid, tiled wall that separates the sections by gender, though unfortunately the girls must pass the boys on the way out. As a solution, Miss Popova put up a paper divider.
π·πΌπΆ πΌππππ π°ππ. π€ ΰΏΰ½΄ΰΎ
A historical house set in a bustling cityscape known as Yunic. The Popova residence has stood strong against the ever-changing scenery of the city, testing the temptations of fads and times passed. While the outside has changed, with some bricks are missing from the walls and the glass of a few windows have been broken by treacherous hailstorms, the building itself has not changed possession for over 150 years. It shows, as the house is a labor of love, formed from generations of culture and style preferences.
Β» The Living Room
A wide room that is housed on the first floor. A plethora of couches, ottomans, armchairs, etc. adorn the area, which is lit by grand windows. Book shelves stretch across much of the wall space, with ornate frames, other art, and priceless artifacts making up the rest. The houseβs port sits on the wall the largest of the couches faces, trolling by with news and other announcements from Popova.
Β» The Kitchen
Housed at the back of the first floor, the kitchen consists of green tiled walls, a large basin sink, and about enough room for a handful of Kindred to cook in. Primarily, Miss Popova tends to meals, though these usually end up in smoke. That is why she has used her wealth to hire a cook known as Junebure. An Echo, though he is quite familiar with all as he utilizes sign language and Miss Popova as an interpreter. With the kitchen hanging off the back, there is a constantly open-and-shutting screen door that is painted a deeper shade of green. The dancers tend to use it as an entryway, whilst the errand boys in charge of fetching the weekβs groceries are there to actually put the door to good use. It is a warm and idyllic setting, as the window facing the large sink illuminates all crevices and dust hanging in the air. Sweet smells always drift from the room, to the rest of the first floor, and then up to the residential rooms. June is always whipping up a pastry or two, making it a popular place to loiter. Off the kitchen through an ornate, wood-trimmed passage is the dining room. Attached off the kitchen, it is included with this location as one can be found sitting at the mahogany table and talking to whoever is on-duty assisting June. A seasonal tablecloth is always found with a drooping, beautifully worked light casting shadows across the large space. It is decorated similarly to the Steeple, as a shrine for Mother, adorned with her photos and a cinnamon-stick bundle, is hosted just behind where the High Priestess sits, between two floor-length windows.
Β» The Bathrooms
There are a handful of bathrooms along the second floor, providing all the necessities. It isnβt uncommon for dancers to agree to share one, as many are connected between rooms in a Jack-and-Jill style.
Β» The Master Suite
There isnβt too much roleplay usage for this, but it isnβt uncommon for the High Priestess to call forth her underlings to address an issue or a forthcoming project. She tends to stay awake, always watching, and will call attention to anyone found out of bed past curfew. Her room is quite bare, unbecoming of a master suite. There is a small canopy bed that is in a perpetual state of being made, done up with pink embroidered sheets. The curtains are never drawn, though they are lacey and with frills befitting of her personality, matching the pink floral wallpaper. Besides oak nightstands held within her family for generations, there is the desk, assigned to a spot next to the bathroom door. It is emblazoned with the Popova crest: a jesterβs mask with a smiling mask and a frowning one.
Β» The Basement
The floor is dirt, clay, and mud. It leaks in the wintertime, chilling all who are stuck down there. It has only a handful of barren lightbulbs strung from the support beams. This is its only sense of civilization. A circle of ash is laid over the indentation formed within the dirt. At the back of the grand plain are two heraldic flags depicting the blackened ballerina boots and morning glories. The base fabric is clean linen, though stained from bloodshed. They border a clean-cut table, which hosts the ceremonial Culling materials: a bejeweled chalice with a twin pair of wings, a pearing knife for sacrifice, and the hooks. They are used for the Death Dance. On the wall is nailed pairs upon pairs of pointe shoes. Some are dusty, old, while others are clearly recently used. Those who survive the Cull and are chosen know why. Along another wall are other weapons used in the Dance, for those who prefer other methods.
Β» The Common Room
Consisting of the third floor, the Common Room is where all dancers can find peace with one another. Of sorts. Shelves of books line the walls, with seating arrangements made for those who wish to occupy their libertine days comfortably and sedentary. As the top floor of the home, it consists of a grand sky light of both clear and stained glass. Housed off the side via a door is the greenhouse. Some prefer to read and entertain other pleasantries in this area, as the Common Room proper tends to get rowdy. The sole television of the house rests there, alongside a grand radio which plays music on demand. A pool table resides in the center of the attic-space with a small workout nook found across.
Β» The Bedrooms
Each dancer gets a private residence and a small fund to customize to their liking. No doors may be locked, however, and it isnβt uncommon for the Priestess to comment on your decor.
A wide room that is housed on the first floor. A plethora of couches, ottomans, armchairs, etc. adorn the area, which is lit by grand windows. Book shelves stretch across much of the wall space, with ornate frames, other art, and priceless artifacts making up the rest. The houseβs port sits on the wall the largest of the couches faces, trolling by with news and other announcements from Popova.
Β» The Kitchen
Housed at the back of the first floor, the kitchen consists of green tiled walls, a large basin sink, and about enough room for a handful of Kindred to cook in. Primarily, Miss Popova tends to meals, though these usually end up in smoke. That is why she has used her wealth to hire a cook known as Junebure. An Echo, though he is quite familiar with all as he utilizes sign language and Miss Popova as an interpreter. With the kitchen hanging off the back, there is a constantly open-and-shutting screen door that is painted a deeper shade of green. The dancers tend to use it as an entryway, whilst the errand boys in charge of fetching the weekβs groceries are there to actually put the door to good use. It is a warm and idyllic setting, as the window facing the large sink illuminates all crevices and dust hanging in the air. Sweet smells always drift from the room, to the rest of the first floor, and then up to the residential rooms. June is always whipping up a pastry or two, making it a popular place to loiter. Off the kitchen through an ornate, wood-trimmed passage is the dining room. Attached off the kitchen, it is included with this location as one can be found sitting at the mahogany table and talking to whoever is on-duty assisting June. A seasonal tablecloth is always found with a drooping, beautifully worked light casting shadows across the large space. It is decorated similarly to the Steeple, as a shrine for Mother, adorned with her photos and a cinnamon-stick bundle, is hosted just behind where the High Priestess sits, between two floor-length windows.
Β» The Bathrooms
There are a handful of bathrooms along the second floor, providing all the necessities. It isnβt uncommon for dancers to agree to share one, as many are connected between rooms in a Jack-and-Jill style.
Β» The Master Suite
There isnβt too much roleplay usage for this, but it isnβt uncommon for the High Priestess to call forth her underlings to address an issue or a forthcoming project. She tends to stay awake, always watching, and will call attention to anyone found out of bed past curfew. Her room is quite bare, unbecoming of a master suite. There is a small canopy bed that is in a perpetual state of being made, done up with pink embroidered sheets. The curtains are never drawn, though they are lacey and with frills befitting of her personality, matching the pink floral wallpaper. Besides oak nightstands held within her family for generations, there is the desk, assigned to a spot next to the bathroom door. It is emblazoned with the Popova crest: a jesterβs mask with a smiling mask and a frowning one.
Β» The Basement
The floor is dirt, clay, and mud. It leaks in the wintertime, chilling all who are stuck down there. It has only a handful of barren lightbulbs strung from the support beams. This is its only sense of civilization. A circle of ash is laid over the indentation formed within the dirt. At the back of the grand plain are two heraldic flags depicting the blackened ballerina boots and morning glories. The base fabric is clean linen, though stained from bloodshed. They border a clean-cut table, which hosts the ceremonial Culling materials: a bejeweled chalice with a twin pair of wings, a pearing knife for sacrifice, and the hooks. They are used for the Death Dance. On the wall is nailed pairs upon pairs of pointe shoes. Some are dusty, old, while others are clearly recently used. Those who survive the Cull and are chosen know why. Along another wall are other weapons used in the Dance, for those who prefer other methods.
Β» The Common Room
Consisting of the third floor, the Common Room is where all dancers can find peace with one another. Of sorts. Shelves of books line the walls, with seating arrangements made for those who wish to occupy their libertine days comfortably and sedentary. As the top floor of the home, it consists of a grand sky light of both clear and stained glass. Housed off the side via a door is the greenhouse. Some prefer to read and entertain other pleasantries in this area, as the Common Room proper tends to get rowdy. The sole television of the house rests there, alongside a grand radio which plays music on demand. A pool table resides in the center of the attic-space with a small workout nook found across.
Β» The Bedrooms
Each dancer gets a private residence and a small fund to customize to their liking. No doors may be locked, however, and it isnβt uncommon for the Priestess to comment on your decor.
π·πΎπΌ πππππππ πππ’ π€ ΰΏΰ½΄ΰΎ
A bustling theater constructed only a handful of years prior. The Popovas invested in the project during its infancy, resulting in an endless series of contracts forged with the Reverie Company. The High Priestess's headlining acts perform here on a semi-weekly basis, typically more depending on the season. People pay a high price to view the grotesque talents of the Company, to watch the beasts encompass the stage. Seating approximately 3,000 people, the space also hosts a variety of other show throughout the week, including performances from other companies. Operas are the second popular show, with a few select theater shows also appearing. The exterior holds ever-changing headlines, in addition to the interior offering select advertisements for future appearances.
Β» The Stage
Hot lights of technicolor and a scuffed floor to pair. Velveteen curtains of a bloody burgundy, almost plum, adorn the stage with silver and gold tassels. Without music, one can jump and hear the hollowness of the floor, the thud of bodies. It can be an eerie sight, but when the house lights dim and it is just the Kindred upon the stage, it is ethereal. Magic. When the dancers of Reverie lay waste to the audience, they will watch in awe at the display. Beautiful horror was meant for this stage.
Β» The Auditorium
An arrangement of seats splayed out from the grandeur of the stage. During rehearsals, it isnβt uncommon to find Ms. Popova and her fellow instructors and choreographers in the front row. Tully Tumerov, the conductor of the theaterβs orchestra, tends to be found screaming in the pit.
Β» The Dressing Rooms
A typical space for starlets and harlots. Two rows of mirrored vanities, lined with lit bulbs. Carts upon carts of costumes hold storage here with the seamstress, Munir, running to and fro.
Β» Backstage
Various set pieces line the walls, cluttering up the already limited space. Dancers will often wait in the wings, precariously out of shot from those sitting to the side.
Hot lights of technicolor and a scuffed floor to pair. Velveteen curtains of a bloody burgundy, almost plum, adorn the stage with silver and gold tassels. Without music, one can jump and hear the hollowness of the floor, the thud of bodies. It can be an eerie sight, but when the house lights dim and it is just the Kindred upon the stage, it is ethereal. Magic. When the dancers of Reverie lay waste to the audience, they will watch in awe at the display. Beautiful horror was meant for this stage.
Β» The Auditorium
An arrangement of seats splayed out from the grandeur of the stage. During rehearsals, it isnβt uncommon to find Ms. Popova and her fellow instructors and choreographers in the front row. Tully Tumerov, the conductor of the theaterβs orchestra, tends to be found screaming in the pit.
Β» The Dressing Rooms
A typical space for starlets and harlots. Two rows of mirrored vanities, lined with lit bulbs. Carts upon carts of costumes hold storage here with the seamstress, Munir, running to and fro.
Β» Backstage
Various set pieces line the walls, cluttering up the already limited space. Dancers will often wait in the wings, precariously out of shot from those sitting to the side.
π·πΎπΊ πππππππ πππ’ π€ ΰΏΰ½΄ΰΎ
A historical building, largely left unused. A sign reads [not pictured, duh] the title of the company and the hours of opening. It is as worn as the rest of the building appears. Some might look at the building and wonder how anyone ever studied the art of ballet here, but a step inside reveals the upper levels, however labyrinthine, provide a supernatural amount of space. There's a twinkle to the air, as though there are forces at play that are outside of the realm of physicality.
Β» The Histories
The single-room studio once so proud has been converted into a small museum. Of course, all who wish to traverse the historical property are allowed for a small fee. The front section hosts the receptionist's desk and a handful of displays and installations detailing the history of the Company and the Popova family. In a separate room off the back, down past the bathrooms, lies the history of Mother and Her Family. Through the janitorβs closet door, past a secret passageway made of concrete, there She is. To many, itβs a gory sight: a large marble statue of Mother, with her wings and curls of purple feathers. Her eyes bleed in agony as a spear strikes through her stomach. This is how her brethren struck Her down, the High Priestess explains. But they did not kill all of Her. That is where you continue Her history.
Β» The Bottomless Pit
The sight of the Cull and other ceremonies. Housed within the basement, the Pit stretches up the width of the farthest wall. It is depthless, almost always giving the sensation of movement without any real proof. The edges are the only indication that it isn't a painted-on fallacy. The wall fades, deteriorating like a sponge sucks in water. The floor is concrete, less rustic than the Basement. However, this is for one important purpose: the red outline of a set of hind legs, curving to meet a pair of wings, which flow out to meet a set of bent arms that spread to hands. Endowed in a circle made of all the recruitβs blood, the bodies of those suffering the Cull are placed around this symbol. There, they wait until Mother takes their soulβ¦ or doesnβt. The bodies are done away with via the Pit.
The single-room studio once so proud has been converted into a small museum. Of course, all who wish to traverse the historical property are allowed for a small fee. The front section hosts the receptionist's desk and a handful of displays and installations detailing the history of the Company and the Popova family. In a separate room off the back, down past the bathrooms, lies the history of Mother and Her Family. Through the janitorβs closet door, past a secret passageway made of concrete, there She is. To many, itβs a gory sight: a large marble statue of Mother, with her wings and curls of purple feathers. Her eyes bleed in agony as a spear strikes through her stomach. This is how her brethren struck Her down, the High Priestess explains. But they did not kill all of Her. That is where you continue Her history.
Β» The Bottomless Pit
The sight of the Cull and other ceremonies. Housed within the basement, the Pit stretches up the width of the farthest wall. It is depthless, almost always giving the sensation of movement without any real proof. The edges are the only indication that it isn't a painted-on fallacy. The wall fades, deteriorating like a sponge sucks in water. The floor is concrete, less rustic than the Basement. However, this is for one important purpose: the red outline of a set of hind legs, curving to meet a pair of wings, which flow out to meet a set of bent arms that spread to hands. Endowed in a circle made of all the recruitβs blood, the bodies of those suffering the Cull are placed around this symbol. There, they wait until Mother takes their soulβ¦ or doesnβt. The bodies are done away with via the Pit.
/* ------ credit -- do not remove ------ */
Β© weldherwings.
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