Legends of Belariath

Nicholas Shade

His Story

His earliest childhood memories he guards carefully; cherished but fuzzy remembrances of hearth and home in the Sheyka village of Wenshona, his mother's beautiful face and voice, the idyllic life of a care-free youngster. He remembers the night *they* came. Dark Elven raiders; hundreds of them swarming through the village, their strange voices echoing in the night air. Even at a young age he had heard tales of the Moriel and their wretched, wicked lives. The old Shaman had even warned the tribe that hints of their dark presence had been detected recently. Indeed, Nicholas himself bore their mark, for his Mother was raped during a previous raid. She was one of the few who escaped and survived, but even she was not unscathed. He was born during the next winter; clearly with Moriel heritage. All too real they were again, as they burned, raped, and pillaged his Wenshona, herding many of the young like cattle before them, killing the rest.

He doesn't remember much of the first few weeks following his capture...a blurred, confused, miasma of pain, anger, loss, and grief. He was dragged and marched deep underground; through a labyrinthine tangle of caves and hidden passageways; eventually arriving at the Dark Elven city. He recalls being imprisoned with his fellow abductees under the very harshest of conditions. He even recalls his first inspection by Rel’Ena Zeluos, Matriarch of House Affidavit. He and the other captives were paraded naked, shivering, and frightened to stand before her for her personal approval. It wasn't long afterwards that he was separated from the rest. Blindfolded, he was taken by unknown paths to new quarters. Instead of being cold and damp (it was always dark in Moriel places), this one was clean and dry...and he was given food and water. There were others there as well, but they didn't speak Sheyka, and he only gradually became aware of and understood his new role.

He had been selected by Rel’Ena to join her harem of pleasure slaves...and she had a large collection of them. He gradually learned the Dark Elven speech...and from some of his fellow slaves, a few other languages as well. He came to understand that he had been chosen for his physical appearance and sexual attributes (Sheyka men are typically well endowed and Nicholas had inherited this trait in abundance). He was young, good looking, and trainable!

Dark Elven Matriarchs are a decadent, hedonistic lot in general – and Rel’Ena had a reputation as one with a particular taste for the sexually exotic. She demanded much from her slaves...toying with them in days-long orgies of sexual excess. Of course, these were exclusively centered on her pleasure...the slaves were mere toys to serve her dark whims and desires. Nicoli (as the Dark Elves called him) was difficult at first to train. The sexual exuberance of his youth was hard to reconcile with her requirements for extended lovemaking; especially the one that her slaves rarely if ever achieve orgasm! Slowly he developed the detachments and intimate experience necessary to pleasure her adequately. He easily recalls his time in her *love-web*...keeping her on the peak of sexual pleasure for what seemed days on end. They were both often drugged and hallucinating from the ingestion of particular cave-spawned mushrooms. Sex magic was a frequent practice and she was *very* adept...magically augmenting her sexual charms and skills to absolutely consume the minds of the participants.

She also had particular ideas about masculine beauty. She clearly preferring *big* partners with dark skin...but oddly, not often were these Moriel males. She had Nicoli’s body marked with numerous tattoos of swirling lines and circles. These are barely noticeable in the light, but glow with a dim green phosphorescence in the dark. They were enchanted with some form of erotic pleasure spell. Rel’Ena would spend hours tracing them with her fingertips, obviously engulfed in mind-bending pleasure as she did so.

He eventually rose to the role of favorite, living in her chambers away from the rest of the harem. He heard whispers and rumors of plans to send him to the household of a rival Matriarch, Mistress Dark-Ivy Bluewinter Swiftblade of house Asvenas Njoh. The ultimate goal of this ‘gift’ was to be, of course, seduction and murder. As a consequence of this plan, he did receive some training in the use of light weapons from her guards. The dagger and wrist crossbow were his favored ones. He was also taught to play the Moriel harp and to entertain her in ways other than the purely sexual. She was fond of legends and stories of Moriel mythology, and his voice was melodic and pleasing to her. He was frequently commanded to recount them for her and was given limited access to her personal library.

Like all members of House Affidavit, he worshiped Tilresh, the Moriel goddess of pleasure. Rel’Ena Zeluos was her high priestess as well as House Matriarch, and if judged by the number of sacrifices she made to Tilresh, a favored one at that. The house symbol was Tilresh’s – a feather within a circling chain.

For years beyond counting, he was groomed as her pet and companion. His sexual skills became second nature. His storytelling and harp playing improved to become quite impressive. Matriarchs from other nearby Nethergloom cities heard of him and often requested private performances of him when they visited. His status grew...almost unheard of among Dark Elven males. But his memories of his other life kept bubbling up in his mind...the life under open skies and a bright sun...a simpler life...a happier time not consumed with self-serving Mistresses and their fickle habits with deadly consequences for failure to please.

He eventually escaped the Moriel city. Feeling the Nethergloom world no longer his proper place, he fled upwards into the long unfamiliar sunlight world. After a long and painful re-adaptation, he wandered without clear purpose. He now pursues life in the area of the Lonely Inn. His training and experiences in the Dark Elven harem provide him with unique perspectives, but fitting them into his new environment took time. Many of the things he once took for granted are now socially unacceptable and bizarre. His racial heritage often brands him with the generally unfavorable stereotype of the Moriel. In the beginning, he struggled with his new life and trying to reconcile it with his old one.

But if nothing else, Nicholas is adaptable and soon thrived. His skills as harper, singer, and storyteller improved as he rose through the Bardic ranks – ultimately attaining the status of Skald. Through training at the Guild of Signet and Song, he honed his already considerable Erotic Arts skills to Masters level. His inborn dexterity made him a natural for Slight of Hand magics. His tastes for the expensive and luxurious keep his coffers low but his lifestyle rich – and in true Bardic fashion, Nicholas sings all the way! He acquired slavegirls to tend his every need; accommodations to suit his new lifestyle; and a magical flying carpet to provide him with stylish transport when such is required. From simple Sheyka villager to Moriel sex slave to fast-living half-breed entertainer, his story (like it’s owner) is convoluted, quirky, and darkly fascinating!

Nicholas’s Town House

Exterior:

In the center of Nanthalion town is the site formally occupied by the Guild of Signet and Song; now burned to the ground by raiders and totally destroyed. In its place now stands an outlandish structure that occupies the center of the large plot. The building itself is round with a high, sharply peaked roof– somewhat reminiscent of the tents used by the Sheyka. The stones of the exterior show much age and marks left by a fire, for most of them came from the rubble of the GSS building. There are no visible windows. There is only one door and it is keyhole shaped in the Darkelven fashion, carved over and around with swirling Celtic-like designs. In its center is a heavy iron knocker, shaped like a harp. The stone walkway up to the door is surrounded by night-blooming plants. There is a beautifully crafted gazebo beside the walkway with two stone benches underneath its ornate roof.

Main Room:

Entering the door, one is immediately struck with the resemblance of the interior to that of a fabulous tent! An exotic blending of Sheyka and Darkelven styles, the eyes are first drawn upwards. Rich fabrics drape down from the center of the ceiling to the sides of the room, and then cascade down the walls. A fixture of elaborately worked black metal and colored glass hangs from the ceiling’s high central point. Elaborately woven rugs cover much of the room’s polished stone floor. In the center of the room is a large shallow indentation – almost like an unfilled pool. Instead of water, however, it is filled with pillows and soft plushy throws. Obviously a ‘pleasure pit’ designed for relaxation and amusements! Beyond it there is a colorfully tiled fireplace centered on the north wall. A thick iron ring is attached to either side of the hearth. In front is a hassock with many large tasseled pillows arranged about it. A large and elaborate hookah stands close by. Flanking the periphery of this arrangement are two large leather-covered wooden chairs. To one side of the hearth stands an ornately carved floor standing harp; it’s dark wood fairly glowing in the flickering firelight. A small stool for the harp-player stands at the ready behind it. A set of shelves against the wall holds books as well as a few odds and ends. A small cabinet holds bottles of refreshments and glasses. If the draping fabrics covering the east wall are pulled back, they reveal a keyhole-shaped opening with dark steps leading down. In the stone lentil above is carved the archaic Darkelven script, “All hope abandon, ye who enter here”. A similarly shaped doorway in the west wall leads to the bedroom. There is yet another, smaller opening in the west wall, but it is hidden behind a hanging tapestry and not casually found.

Bedroom:

The bedroom’s walls are similarly covered by a flowing abundance of fabric that largely hides the darker stone of its walls. Dominating the room is a large four poster bed; massive in its proportions. Its base is a low platform reached by three shallow steps that run the beds’ length on either side. Translucent fabrics drape loosely about the top railings and are gathered at the corner posts. Attached to each of its posts is a thick iron ring. Many tasseled pillows are piled at the head of the bed and small bedside tables flank it. There is an ornate folding screen across one corner of the room with a large brightly painted wooden armoire looming next to it. Like the main room, there are no windows anywhere. A smaller arched door opens in its north wall. It has a single swirling design burned into its center with the Darkelven word for ‘Mine’ burned directly below.

Slave girls Quarters:

The slave quarters is a medium sized room divided into a larger central area and five smaller ones by loose hangings of a gauzy translucent material. Inside each of the small areas is a bed and an elaborately decorated low cabinet with a mirror and a candle sitting atop it. There are pierced metal sconces on the walls for light. There is a small doorway in its eastern wall that leads out to the main room from behind a tapestry.

Basement:

The steps down are wide, but not lit. There is no light source below. The stone walls and floor are more roughly shaped than in the living quarters above. The wooden beams supporting the ceiling are also rough-hewn and are exposed.

Once down in the basement, there is a small room, with four doors.

To the right there is a door leading to the food storage, and the wine cellar.

To the left there is a door leading to two storage rooms, old furniture, clothes, or anything that might be stored here.

At the right side of the staircase, there’s the door to the firewood and coal storage.

And finally, in the front of the stairs, there is a soundproofed oak door leading into the heart of the basement, the dungeon.

Inside the dungeon there are rings mounted in the walls, to hold candles, or torches, or to attach a leash to a slave collar, or attach manacles to, anything that the master would like.

There are also rings mounted on the beams in the ceiling, in order to give the master the choice of hoisting objects or slaves up in the air.

Directly to the left of the door, there is an old looking cabinet for storing the equipment needed in a well provided Dungeon.

To the right of the door, there is a vertical rack mounted on the wall.

The vertical rack can be used to cuff a slave into a standing position for various purposes, such as whipping, both for tease or punishment.

Almost in front of the door, there are adjustable cuffs mounted in the floor.

The adjustable cuffs are placed to hold a slave in a kneeling position with her bottom facing towards the door, firmly held in place with cuffs around the ankles, knees, wrists elbows and around the neck to force her to face down against the cold stone floor.

Next to the cuffs in the floor, to the left, there is a wooden horse.

The wooden horse is of course with cuffs to hold a slave mounted onto the horse. The wooden horse can have various sizes of dildoes attached in the right places or just be used to force serious discomfort for the slave.

Further to the left there is a wooden stock.

This piece of equipment gives the master the possibility to lock a slave in different positions, locking her wrists and ankles in the holes in the stock. The stock is perfect for keeping a slave in place until she is needed.

A little more to the left there is a standing slave cross.

The cross is fully equipped with cuffs to lock the slave’s wrists and ankles and waist to the cross in spread eagle position, making her fully accessible for any of the master’s wishes.

Finally to the left at the curved wall of the dungeon, there is a wooden barrel.

The barrel is laying on its side. There are cuffs to lock a slave in a bended over position, either with her front of her back towards the barrel. Half of the barrels outer side is plain wood, the other half is studded in order for the master to choose how much discomfort he wishes for the slave. The barrel is a good place for punishment or sexual torment using whips or paddles.

A little further along the curved wall there is a barrel shaped water tank, usually almost filled with water.

Next to the water barrel there is a small slave cage.

This is perfect for locking a slave in for the night after a session in the dungeon when the master doesn’t want a whimpering slave upstairs.

The cage is of course fitted with a lock, so that the slave will stay there if the master so wishes.

On the top of the cage there are rings to the whole cage can be lifted by ropes. As if by chance the cage fits in the water tank, and can be lowered into it, if the master so wishes for cleaning or torment purposes.

Further to the right of the cage, there is the stretching rack.

This is a masterpiece as it really is a way to make a slave immobile for either torment or tease. And when the master has stretched the slave out using the wheel that pulls on the ropes to the cuffs, there is a lever that makes the whole bottom of the rack to lower to the floor, leaving the slave hanging in the ropes and completely accessible for anything the master would wish to do.

To the right in the room there is the torture table with many of locking rings.

The top of the table is turn able, leaving the master the choice as one side is plain wood, the other side is studded if the master wishes to give the slave even more discomfort. The table legs are sturdy enough to give stability for really hard use of the slave, either for fucking or for torment, whatever the master wishes.

Placed at different places in the dungeon are three fire plates for hot coals.

Back to the cabinet at the flat wall, the master has a variety of choices, perhaps pending on the mood he is for the day. It contains as follows:

*Hanging on hooks on the doors*

Non combatant Bullwhip,

Non combatant Cat o nine tails

Horse hair flogger

Leather flogger

Riding crops

4 steel manacles 2 of the suspension type.

2 sets of interlocking chains

2 triclamps (clamps for the nipples and clit, with connecting chains)

a yoke (for the slave to wear across her shoulders with her wrists locked to the yoke at the ends of it)

a 3 foot spreader bar

a 4 foot spreader bar

2 wooden paddles, one with holes, the other plain.

*On the top Shelve*

3 bottle of friction reduction oil

2 bottle of massage oil

1 bottle of hot cock oil (this causes the same pleasant burning tingle as above, only it is applied to the male genitalia. Numbing, subtle pain denies sensation and delays the male ejaculation. For the troublesome slave or for the wicked Master)

2 jars of plant wax (pleasure)

2 jars of bee wax (torture)

*On the middle shelve*

3 pairs of nipple clamps

3 clitoris clamps

3 normal dildoes

2 two way dildoes

2 double ended, for both vagina and anal

2 glass dildoes

3 wooden butt plugs, different sizes

2 sets of anal beads, one with smaller beads, one with larger

2 Matuya’s torturer (soft, large, and smooth rubber spheres inserted and rotated inside of the anus or vagina)

8 pairs of leather cuffs

2 leather harness

1 leather swing, this can be attached to the rings in the ceiling.

1 length of coarse chafing fiber rope 30 feet

2 ostrich feathers

3 cock rings

1 chastity belt

*On the lowest Shelve*

Here are the tools meant only for serious torment. This shelve itself is slightly tilted as to show off the dangerous equipment that really isn’t meant for the faint hearted.

On this shelve the master can find:

A battle cat of nine tails

A battle bullwhip

A set of torturers tools: pokers, tongs, heavy duty clamps, branding tools,

A set of taxidermist’s tools: A variety of evil looking sharp edged objects and surgical objects, meant for discovering what is under the skin, or inside a body. Most of these are favoured by the serious taxidermist, or necromancer.

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