Daun Gallery

THE DAUN

The daun are a humanoid race, varying from dark-skinned to pale, blonde hair to black, thin and willowy to husky and short. On average, daun reach approximately six feet even, with females of the species slightly smaller. Daun are separated by culture far more than physiology, though certain traits predominate within each cultural group.

Curious and bold, daun are admired for their adventurousness by most of the other races, but seen as irresponsible risk takers by some. Above all daun value individuality and creativity, though physical prowess and beauty are much admired.

THE BIJAPURAN CULTURES

The bija race of daun is native to the tropical climate of Southern Vash, occupying the island nation of Bijapur and spreading throughout the islands of the Sea of Tamin. Culturally the bija are quite varied, ranging from the many small tribal societies of the islands of Kamalo to the world-wise urbanites of the fabled lotus-domed city of Maijur.

A land of crowds and color, silks and jewels, rich spices and heavy perfumes, the center of high bija culture is Bijapur. Once a subjugated civilization of the Tanshui Empire, the people of this region extend across the seas as far west as the coastal regions of Indrejan where people of the bija race still predominant on the island of Sajoi. The Bijapur have now been absorbed into the Vashan Empire, which is under the rule of Nagosan. The reigns of their Great Kings have been replaced by the rule of a Nagosan military governor, or Daimyo, and the island state has been divided into a series of rajs, which are ruled by puppet rajahs dependent upon the Daimyo's pleasure. The land is thus heavily occupied by the Empire's samurai forces who are generally only bound to Imperial law, and not to the local Bijapuran laws or customs. The official capitol and seat of the Governor is the famed "Floating City" of Asha, a large port city and sprawling market on the southeastern coast.  

The daun of Bijapur value grace, eloquence, and a refined sense of taste above wealth. As in most human cultures, a caste system defines one's role in society, however in Bijapur the caste system is rather rigid. Knowledge is of great importance to them. An acknowledged jewel of the east, the magnificent holdings of the Library at Asha, successor to the ancient Pashdahati of Daj, have made that city a magnet for scholars from all over the Empire. Like the Nagosan, the Bijapurans frequently import scholars from as far away as Xianghou and Taekota to instruct their young.

Settled long ago by Bijapuran explorers, tropical breezes warm the tiny isles of Sia Sia and Sia Lo of the island nation of Khanchanburi, which lie northeast of Bijapur. The honey-skinned bijas there avail themselves of the near perfect weather to keep their clothing to a minimum. A khanchanburi woman generally wears her hair drawn up into a tight topknot or wears a simple turban. A brightly colored sari with decorated hem, sandals and large dangling earrings complete her ensemble. The men tend to wear only turbans, sandals and an antarvasaka, a short dhoti-like loincloth.

The heavily forested islands have managed to retain some autonomy within the Vashan Empire by virtue of arranged marriages between the royal families of Chu'lan and Taekota, and Khanchanburi remains an independent monarchy. Most Khanchanburans are rice farmers, fishermen, or craftspeople. Their expertise at stone carving and puppetry being held in high esteem throughout Vash.

South of Bijapur lie the islands of Kamalo, which extend down into the Sea of Tamin. The once autonomous rule of the many tribal leaders has been replaced by the might of Nagosan with the rule of a Vash-appointed Over-King, who settles local disputes and upholds the laws of the Empire in the region. Among the many island cultures of the bija race in Kamalo are the fierce Oompalese of the isle of Tum'a who tattoo their entire faces and most of their bodies with elaborate geometric designs. Abiding in the treetops of the jungle islands in the southern reaches of Kamalo are the ebony-skinned Chak'aa, who, in reverence to the scholarly Elpa Sylphs whom they regard as their Lorekeepers, dress their long hair into rigid snake-like locks with the local green clay. Due to the Nagosan occupation, the present day population of the islands is frequently mixed both racially and culturally.

Skin tone among the bija varies widely from creamy golden tan through dark brown and rich ebony, with the darker skin tones predominating in the southern islands. Hair is usually very straight and black, blue-black, or dark brown, though auburn and pale blonde tresses surface occasionally and do not elicit undue comment. Striking jewel-like shades of brilliant emerald, sapphire blue, and deep amethyst are the most common coloration for bija eyes; rarely a child is born with eyes a deep shade of garnet that is almost black.

In all of the bija cultures, tribal to urban, combinations of dazzling color and an abundance of jewelry is the norm. Bijapuran clothing consists largely of unsewn garments made of beautiful printed and beaded cottons and silks, which are wrapped and draped around the body in a number of characteristic styles. Most women wear some form of the toga-like sari often in combination with a cropped blouse, or choli, and a head scarf, or dhupatta. Men swathe their heads in colorful turbans and wear various styles of loose tunics, the angarkha and kurta being the most common. Both sexes favor dhoti, pants that are formed by winding a length of fabric around the thighs and then securing it at the waist. In the southern isles, dhupattas are worn with the choli over mirrored and embroidered tiered skirts, called ghagra. Exceptions to this are the Oompalese women who prefer simple sleeveless sheaths of light silk fabrics, usually woven or block printed, and the Chak'aa who wear very little clothing that is usually in shades of green to compliment their mud-dressed tresses.

THE CARABELLO CULTURE

It is often said that Carabello is the language of kings and statesmen. This particular stereotype is hard to deny. Even the eloquent sylvans tend to agree that the native speakers of this refined tongue represent a higher standard of sophistication and culture among all daun. It is primarily spoken in the city states of the Caradeste Alliance such as Abyzanto, Pistoia, and Aura-del-mare. These allied states of northwestern Quesalia represent the ethnic homeland of the Carabello nation, where the Carabello have been content to remain, not being prone to wander as are many of the other human sub-groups.

Physically speaking, the Carabello are usually attractive with a well-proportioned build. Most have black or brown hair in varying hues and shades which they wear in whatever the latest fashion might be. Their eyes appear in a range of colors reminiscent of the lush sun-filled hills and valleys of their native land. These hues include rich browns, greens, olives and an occasional instance of sky blue or stormy gray. Their advances in agriculture and the culinary arts have resulted in a relatively healthy constitution. However, it is the grace and fluidity of their physical expression that best defines their physique on average. These qualities are emphasized by their flamboyant yet somehow elegant clothing, which is skillfully tailored in brocades and velvets to be form-fitting and is adorned with great quantities of embroidery and beadwork.

Even though their ethnic roots are found among the Kivians of Laurdia and Indrejan, the impact of il'lthye and sylvan influences on Carabello culture cannot be understated. This particular daun civilization has benefited largely from a close proximity to their Quesalian neighbors, the sylvan Lior and the dark elves of House Kynan-Tremaine. This abiding friendship between the three races continues to propel the Carabello forward to ever greater triumphs in art, music, literature and modern diplomacy.

While the Kivians lead the way in trade and industry, the Carabello claim rights to a degree of cultural elegance not seen since the Age of Wonders. Their playwrights, musicians, and poets have been responsible for some of the most sought after works of fiction and music of the past twelve decades. A national love of color and beauty has also served to produce some of the greatest luminaries in the world of fine art. Most would agree that this culture gives birth to some of the most respected diplomats, generals, and nobles in all of the western world.

THE KIVIAN CULTURES

By far the largest and most wide-spread daun civilizations to emerge from the Age of Chaos, the Kivian culture dominates the world stage in both politics and trade. The language known as the "Common Tongue" originates among these people. This language's ubiquitous use among many of the more prominent Thraelian cities has served to extend the influence of its native speakers to nearly every corner of the globe. The cities of Kaezar, Penthras, d'Anjour, Hespiatelon, and Vzeik stand as monuments to the tremendous success of their culture.

Originating in the Southern Highlands of Kitzkannaugh on the northern coast of the Kivian Sea, the Kivian daun have ranged southward into Indrejan, and have fanned out northward to populate the snowy steppes of Kuthgard, the rugged mountainous regions of Noskalov and Laurdia, and the frigid wastelands of southwestern Icyndor. While the Great Clans of the highlanders have dwindled in both number and political importance, offshoot Kivian groups have forged vital cultures influenced by the landscape and climate of the lands to which they have sojourned. Among them the kessians of Peregorne, the Anjou of Indrejan, the norgemenn of Noskalv, and the gaels of northern Peregorne and Icyndor have all formed their own distinctive Kivian cultures.

The original Kivian culture is rooted in the highlander people. Fierce and rugged warriors, the highlanders are greatly valued by all cultures for their skills as mercenaries, rangers and soldiers, and they are always in high demand as such. Only the great gharkins surpass them in physical prowess, and few are as skilled in maneuvering the many hills, valleys and mountains of the Kivian regions better than they. Those highlanders who remain close to their ancestral homes do their best to maintain their small farms and crofts while struggling to keep their lands from falling into the hands of an increasing number of foreign and often orcish invaders. Though once as likely to war among themselves as with invading armies, the highlanders are now ruled by a council of tribal chieftains, each of the family clans represented equally.

Highlanders have piercing eyes of deep blue to greenish brown and weathered, pale to ruddy skin with hair colors running in shades of blacks, browns, and reds, plus all shades of blonde. Men favor beards to a certain extent and it is often the custom of both men and women to wear their hair braided. Numerous racial and geographical influences have served to provide this culture with a keen intellect, tremendous resolve and a hale physique. While they are well suited to nearly any profession, they make particularly strong archons as well as formidable warriors. Clothing for most highlanders is utilitarian and designed for warmth. Thick rough woolens fashioned into simple tunics and shifts are the norm, often adorned with shawls and kilts in plaid weaves reflecting the wearers' family tartans. A number of strong druim'dwer traditions have been adopted by the highlanders as well. Many of the deities worshiped by this culture have been appropriated in one form or another from their distant druim'dwer neighbors. Even as the highlanders will freely admit to having borrowed much from other races and nationalities, they proudly lay claim to the invention of the melodious bag pipe.

At the other extreme of Kivian culture are the Anjou people. Dividing their small country of Indrejan into eleven kingdoms, the Anjou generally force other races to live in the north of the country, in the conglomeration of city-states known as Fountegne-Nouvrescent. It is not necessarily dislike that causes this behavior, but rather a deep-seated desire to keep the Anjou land to the Anjou. Thus, relationships with the few hundred valek gharkins that roam the plains and hills are strained, as the prideful daun go to any extremes to keep the gharkins from their nomadic progress through the kingdoms of Meilleusonier and Lasrière. Nonetheless, the Anjou enjoy showing off their accomplishments, and many make a fine living guiding tours about the capitol of d'Anjour, where the king's palace is situated. Poets refer to this exquisite marble metropolis as the earthly answer to the god's dwellings, often referring to d'Anjour as the "Aerial City". The city itself is elaborately appointed, with latticework and bas-relief sculpture decorating the outside of most buildings, while the insides are adorned with luscious frescoes and deep carpeting.

Physically, the Anjou tend to be almost elfin in build, standing quite tall for daun but with willowy and supple figures. They have small, rounded faces with high cheekbones and their limbs are long. The Anjou women are known to have elegant and almost disproportionately lengthy legs as well as wide hips and small bosoms. Both sexes are nearly the same height, males standing perhaps an inch or two taller, with their proportions being more 'normal' than those of the women, although they tend to have long fingers. T'elt jewelry is favored by both sexes for its ability to complement their skin, which ranges from nutmeg brown to an almost ethereal pale gold, and their favorite mode of dress is the unbelted garments called togas. Clasped at one shoulder and leaving the other bare, these togas are comprised of a single sheet of fabric that drapes about the body, flowing with each movement to provide a pleasing shape to any watching eyes. It is common among the women of the Anjou to wear a toga with an irregular hem that is cut at about mid-thigh on the side of the covered shoulder, with a narrow tail that brushes the opposite ankle.

All Anjou have glossy dark hair that lacks any hint of red, the lightest shade being a crisp walnut brown. They generally have tight springy curls, though these are quite pliable and stretch out to be nearly straight as the thick hair grows. Their round eyes are of the same dark shades but violet hues are not unheard of and in rare cases, Anjou are born with bright golden eyes that match their favorite metal. Full eyelashes and brows with smooth arcs, along with narrow noses and plump rosebud pink lips, complete the appearance of the full-blooded Anjou daun.

Kivians who have spread to the extreme northern climates tend to have a greater preponderance of redheads and persons with pale blonde hair, some approaching a paleness akin to the white snow that covers their lands. Their eyes also tend to dreamy shades of light blues, aquas and greens, which the barbaric and greatly feared seafaring Norgemenn claim is due to their close relationship with the oceans. Generally ruddier in complexion and shorter in stature than their highlander ancestors, these hardy northern peoples have largely abandoned the use of tartan fabric, and supplement the usual highlander woolens with heavy furs and leather goods. Often their garments are decorated with designs of intricate knotwork and the Kivians of Kuthgard and Laurdia make frequent use of stylized animal designs, which are woven into their brightly colored fur-trimmed woolens. Carved and embossed with the same stylized animal motifs, their saddles, quivers and leather armor are greatly prized for their beauty, quality and durability. Borrowing skills from their druim'dwer neighbors, the humans of Icyndor and Noskalv have grown in their ability as weapon smiths and armorers, making serviceable though not spectacular weapons.

THE MURKHISH CULTURES

Branching from the original Abraxian daun, the murkhish daun dominate the eastern half of Ziguran, their cities filled with color, light and music. They celebrate the body and revere the arts, especially dance, and it is not unusual for a man to take numerous wives. Women are regarded as status symbols and prizes, and are lavished with jewelry made of fine ivory and emeralds, both of which are harvested in the southern part of the continent. Murkhs are also noted as traders, scientists, inventors of gadgets, and masters of the magical arts.

Most murkhs live in either glittering coastal cities such as Omadurin or Athkara, or in the vast desert lands of the interior. Ruled by a dey and his kålifah (successor), the government of the murkhs is something between a monarchy and a dictatorship. A vizier, who holds counsel with the lesser adir and their kålifahs, advices the dey. The army of the murkhs is more for show than actual use and consists of one hundred soldiers for the dey and kålifah's personal use, with another three thousand designated for actual fighting. If war were to break out, the government would rely on the mercenary services of the sere gharkins and the inventive mechanical talents of the ruttle gnomes.

Though the murkhish daun share Ziguran with the Sunjo daun, the il'lthye houses of de Nox'Ascenti and xul'Abraxas, the sere gharkin, ruttle gnomes and druim'dwer of clan Teriaslin, fighting on a large scale is not an issue for the inhabitants of the huge continent. Each race has called their area home for so many generations that there are few disputes over land-owning, while religion generally encourages the strength of the group rather than the individual. The landscape of Ziguran discourages the mass movement of armies, for riding across desert or through dense jungle is expensive, slow and often times fatal. Generally, the murkhs of the desert live in pleasant harmony with the mesa-dwelling ruttle gnomes and the wandering sere gharkins. Their urban counterparts endure a somewhat less friendly relationship with the dark elves of House xul'Abraxus with whom they share an intense interest in the magical arts. Outside threats are dealt with swiftly and efficiently by the murkhish Sicarii, those called the "dagger-men". While little is known of their structure and organization, including whom they serve, it is a fact that they have worked with the dey to dispose of citizens of other countries.

Making their homes in huge colorful tents and traveling from city to city in caravans, never sojourning in one place for very long, the Brez'ah, Ugheizan and other desert dwelling murkhs are nomadic, yet most groups have long since established roots at the edges of the desert, forming communities of rabu herders, persimmon growers, and farmer of grain. Sheltered by the long narrow ridges of polished red granite which protrude from the sands of the eastern desert, Ughezian homesteads dot the landscape, shaped typically like trunkated pyramids with stucco-covered sides and topped by their distinctive swirled and pointed cone-shaped roofs.

Murkhs tend to be golden skinned, though darker skin tones ranging from warm ruddy tans to deep walnut browns are also common. The men are powerfully built, but shorter than most other daun, and the women are curvaceous tending to plumpness. Their eyes are usually somewhat slanted and primarily hazel to rich brown in hue, often flecked with accents of russet, teal, emerald, or gold. Murkish hair is straight to naturally wavy or even tightly curled and is almost uniformly dark brown or black, though reddish hair appears occasionally.

Murkhish costume seems to blend the influence of long ago contact with the Bijapuran culture with an indigenous style all its own. In the cities, both sexes favor intricately patterned silk brocades and brightly printed cotton fabrics. Women have mastered the artful and alluring effects that can be achieved through the use of the sheerest of fabrics. Both sexes wear wide-legged pants and long close-fitting jackets, tunics or vests. Men wear turbans, while women veil their heads and faces and are fond of elaborate jewelry. Murkhs of both sexes wear colorful sandals or low slippers made of woven strips of leather or of beaded and embroidered fabrics. The toes of these shoes curl into the characteristic pointed tip utilized with such grace by their famed dancers. The costume of the desert dwellers is quite different. They favor heavier clothing woven in bright geometric patterns, both sexes adopting the practical gharkin style of wearing long hooded robes over vest coats or simple tunics. The hooded cloaks, as well as thick fabric headbands and head scarves all help the members of these hardy tribal desert cultures to resist the effects of the intense equatorial sunshine.

THE SUNJO CULTURES

Fierce and tribal, the Sunjo people live in the deepest jungles and southwestern coastal areas of Ziguran. Once the usurping rulers of the Naroumbi empire, they were driven back by the Zigurs who regained control and sent them into the wild. The Sunjos formed three great tribes, the Nogoba, the Sandit Sando and the Madai. United under Matika the Just, they built the great city of Doka-Dobao, the first Sunjo city within the Obadabh territories. A proud people, the Sunjos are fierce warriors and are skilled in all manner of animal husbandry and herbalism as well as tribal magicks. They are ruled by the thirteen member, House of Chieftains, in a democracy where a two party system has arisen among the three major tribes. The current ruling party is the Quinta'jo, with the Zaula the secondary party.

Architecture among the sunjos varies greatly with most rural townships consisting of reed-thatched huts and treehouses woven from the local branches and vines, while their more prosperous neighbors are likely to build large stone dwellings of interconnected cylinders with clay tile-covered conical roofs. Still the epitome of sunjo architectural achievement, the tall fantastical shapes of the twisting spires of Doka-Dabao are said to have been fashioned after the dragyn spires, which legends says once dotted the Enninnukei Mountains. Some few tribes still cling to the vine-covered ruins of their ancient Abraxan and Brez'ah predecessors, believing that by living in proximity to the Ancients they inherit a closer spiritual link to the gods.

Chests, furniture and sculpture, all handcarved from the rich exotic woods of the jungles of Ziguran and inlaid in ivory and precious stones and metals, are prized the world round and are the primary export of Sunjo merchants. The smoked guba'ai fish farmed off the coasts of Gui'Ea are famed as a delicacy. It is said that once someone has tasted the guba'ai he will crave it all his life.

Though physiques vary greatly from those of extremely tall, lithe and graceful build to the those of short, fleshy and stocky build, most sunjo tend to have an erect carriage that lends them a slightly haughty demeanor even though they are a generally joyful people. The facial features of the Sunjos can fluctuate from the broad flat noses, dark eyes, ebony-colored skin and tightly curled hair of the tall and handsome Madai to the regal straight noses, hazel eyes, honey gold skin and soft wavy hair of the proud Sandit Sandos, with the Nogoba possessing a wide range of both traits. Sunjos frequently dress their hair with fragrant oils and perfumed waxes to increase its gloss and pliability. The tightly curled texture of the sunjos' tresses lends itself to being styled in the elaborate braided hairdos, often adorned with beads and jewelry, which are favored by some tribes. Shamans among the ruin dwellers or those persons who have experienced a religious epiphany often do not dress their hair at all, allowing the strands to wind together over time, forming dreadlocks.

Brilliantly colored batik and block printed fabrics of strong geometric designs are used to fashion the clothing of both male and female sunjos. Women tend to favor sleeveless ankle-length a-line gowns accessorized with wrapped headcloths and shoulder-draped shawls. Younger unmarried women wear daring backless gowns with a charming coquettishness. Merchants and men of the cities tend to wear long loose robes of woven linen, though in the hot jungle climate simple loincoths are favored by laborers and warriors. Animal furs or whole hides including the stuffed heads are often worn to great effect by both warriors and shamans. Both men and women of wealth wear heavy jewelry that makes bold use of large flat plates of gold, embedded with large gemstones if money allows. Scarification to mark pinnacles in the life achievements of the nobility or among certain warrior classes are common, and these marks are worn proudly.

THE TESUGAN CULTURES

The Tesugans are native to the island of Vash, whose mountainous peaks rises from the junction of the Taelean and Tempean oceans. Once slaves of the Tetsu-ko il'lthye, the tesugan people expanded outwards to occupy the islands to the east, becoming the predominant populations of Nagosan, Dhansang and parts of the Kamalo Islands. They are the ruling race in Nagosan, the center of the mighty and far-reaching Vashan Empire that controls the eastern world.

Most Tesugans have pale, slightly yellow or golden-tinted skin and straight glossy black hair that ranges from coarse to silken. Their gently sloping dark eyes are unique among dauns, slanting upward at the outer corners and having a delicate fold of skin at that inner corner that partially covers the lacrimal. The smallest genetically of all the daun cultures, their quickness and agility, as well as a fierce intellect, characterizes the group as a whole.

Tesugans tend to be extremely traditional and rigid. Foreigners from the west, who are regarded as unwelcome barbarians, find that avoiding offending a Tesugan is almost impossible, as they have customs for just about everything and discarding even the simplest ritual is considered to be the worst possible offence. Observance of social status, the particulars of religious worship, and accepted business practices are rigorously enforced and minor infractions can be dealt with by severe punishment or even death.

Confined by tradition within the walls of the Imperial Palace in the capitol city of Taekota in Nagosan, the divine Emperor Tenma Genki rules the entire Vashan Empire. However, the powerful and dreaded Shogun Yutaka Kizashi, to whom all families of the warrior nobility must swear allegiance, is the military ruler of all the Empire in the Emperor's name.

Cities throughout the Tesugan's domains are characterized by tall multitiered buildings of red and black-stained woods with sloping tiled roofs, upturned at the eaves. Unique to tesugan architecture are their pavilion-like houses with a large single room being subdivided by sliding doors and walls made of paper. They claim to mirror nature in their art and lives, but it is a peculiar nature ordered, arranged, pruned, and cultivated to appeal to the tesugan eye.

Armor and sword making have reached a state of high art among the Tesugans with especially skilled craftsmen held almost hostage by their feudal lords in order to maintain all of their production among the local samurai warrior nobility. Only persons of the samurai class may own a fully mounted katana, tanto, tachi, or wakizashi blade, and only samurai may use those weapons in their full splendor. All men and women samurai are expected to be versed in the arts of watercolor, calligraphy, poetry, and train rigorously in the arts of war.  

Early migrations of the Tesugan race from the southern tip of Vash to the Kamalo islands have produced a sub-group of the race known as the Otaki. These Tesugans are known for their ferocity in battle and their almost preternatural lack of fear. Many regularly have a painful "moko" tattooed upon their face at a very early age. These fearsome fighters are also fond of tribal tattoos, piercings, and many forms of ritual body mutilation. They are skilled with a variety of weapons including wicked clubs, spears and ceremonial swords as well as daggers. Most other people, including their daun, gnomish, and gharkin neighbors avoid the otaki as they tend to be chaotic as well as highly entrenched in traditions only they seem to understand.