Difference between revisions of "Iolanthe"
(4 intermediate revisions by the same user not shown) | |||
Line 8: | Line 8: | ||
| style="font-family: Gabriola, serif; font-size:50pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: right; padding: 20px" | <br> Iolanthe | | style="font-family: Gabriola, serif; font-size:50pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: right; padding: 20px" | <br> Iolanthe | ||
|- | |- | ||
− | | | + | |[[image:dryad021.jpg|250px|left]]''Mortal Eyes See'' |
− | |||
− | ''Mortal Eyes See'' | ||
This woman is quite remarkable. She is quite tall, around five feet and ten inches, well over average for her sex. But this is not what really makes her stand out. There are several different characteristics that all combine into one very distinctive whole. Firstly, there is her face. She has a slightly pointed chin, and a very full mouth. Her eyes are a deep, deep brown. When she smiles, she has slight dimples. Her hair, which is a rich mahogany brown, is shot through with streaks of a bright green, a vibrant spring green shade. Her skin is very pale, rather akin to the colour of polished ash wood. | This woman is quite remarkable. She is quite tall, around five feet and ten inches, well over average for her sex. But this is not what really makes her stand out. There are several different characteristics that all combine into one very distinctive whole. Firstly, there is her face. She has a slightly pointed chin, and a very full mouth. Her eyes are a deep, deep brown. When she smiles, she has slight dimples. Her hair, which is a rich mahogany brown, is shot through with streaks of a bright green, a vibrant spring green shade. Her skin is very pale, rather akin to the colour of polished ash wood. | ||
Line 34: | Line 32: | ||
| style="font-family: Gabriola, serif; font-size: 26pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: left; border-bottom: 2px solid black" | CHARACTER BIOGRAPHY | | style="font-family: Gabriola, serif; font-size: 26pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: left; border-bottom: 2px solid black" | CHARACTER BIOGRAPHY | ||
|- | |- | ||
− | | [[image:dryad012.jpg|250px|left]]Technically, Iolanthe is many thousands of years old, like all Inanimae, as she came into being at the start of the Mythic Age. Her current age is how long it has been since she last awoke from her ages-old sleep. Like most Inanimae, she fell into slumber when the Mythic Age came to an end, but she was not dead. She has woken up periodically down the millenia, but usually for relatively short periods. This is the longest single period of time she has been awake. She has managed to balance her glamour and banality, so far, so returning to sleep is not required. Sooner or later, she will have to return to an Anchor for a few centuries, but hopefully that time is still some way off. | + | | [[image:dryad012.jpg|250px|left]]Technically, Iolanthe is many thousands of years old - or, more than likely, over a million, like all Inanimae, as she came into being at the start of the Mythic Age. Her current age is how long it has been since she last awoke from her ages-old sleep. Like most Inanimae, she fell into slumber when the Mythic Age came to an end, but she was not dead. She has woken up periodically down the millenia, but usually for relatively short periods. This is the longest single period of time she has been awake. She has managed to balance her glamour and banality, so far, so returning to sleep is not required. Sooner or later, she will have to return to an Anchor for a few centuries, but hopefully that time is still some way off. |
Since she awoke in the 19th Century, she has spent most of her time traveling, stopping in a place for a year or two, then moving on again, as wanderlust took hold. She has an insatiable curiosity for the world, especially now it has been so changed by technology and science. This may be her undoing, as such things are magnets for banality. | Since she awoke in the 19th Century, she has spent most of her time traveling, stopping in a place for a year or two, then moving on again, as wanderlust took hold. She has an insatiable curiosity for the world, especially now it has been so changed by technology and science. This may be her undoing, as such things are magnets for banality. | ||
Line 42: | Line 40: | ||
She visited Australia in the 1950s, and spent the latter part of the decade in New York. To her, it was bliss. She spent the Summer of Love in Haight-Ashbury, totally revelling in the freedom, drugs, sex, and music. The 1970s saw her back in Europe, where she took up residence in Amsterdam for several years, and where she became a well-know character in the red light district. Not for her sexual wiles, but for her singing. She was a guest singer on albums for several artists, especially those of a more prog rock type. She toured with Led Zeppelin and Pink Floyd, part of their entourage. In the latter part of the decade, she was to be found in London, hanging out with the rebel icons, and sharing a flat with Vivienne Westwood and Jordan Mooney for a year. | She visited Australia in the 1950s, and spent the latter part of the decade in New York. To her, it was bliss. She spent the Summer of Love in Haight-Ashbury, totally revelling in the freedom, drugs, sex, and music. The 1970s saw her back in Europe, where she took up residence in Amsterdam for several years, and where she became a well-know character in the red light district. Not for her sexual wiles, but for her singing. She was a guest singer on albums for several artists, especially those of a more prog rock type. She toured with Led Zeppelin and Pink Floyd, part of their entourage. In the latter part of the decade, she was to be found in London, hanging out with the rebel icons, and sharing a flat with Vivienne Westwood and Jordan Mooney for a year. | ||
− | The 1980s came, and she became a devoted New Romantic, like many of the post-punk crowd did. But as London became the centre of the capitalist, screw everything except money, mentality, she became disillusioned, and felt banality swamping her. She left. Stopping off in Ibiza for a while, she headed back to Australia, and spent some time in Adelaide. She moved on from there, and traveled South America for several years. | + | [[image:dryad022.jpg|250px|left]]The 1980s came, and she became a devoted New Romantic, like many of the post-punk crowd did. But as London became the centre of the capitalist, screw everything except money, mentality, she became disillusioned, and felt banality swamping her. She left. Stopping off in Ibiza for a while, she headed back to Australia, and spent some time in Adelaide. She moved on from there, and traveled South America for several years. |
For the past twenty years, she has traveled across the Orient, and back across Europe, and finally she returned to North America, and hitch hiked her way all across the continent. Finally, she arrived back on the West Coast, intrigued to see what changes have occured in the past fifty years. | For the past twenty years, she has traveled across the Orient, and back across Europe, and finally she returned to North America, and hitch hiked her way all across the continent. Finally, she arrived back on the West Coast, intrigued to see what changes have occured in the past fifty years. | ||
Line 49: | Line 47: | ||
She is a dryad. She probably means that quite literally. | She is a dryad. She probably means that quite literally. | ||
− | | | + | |
− | | | + | [[File:dryad020.gif|175px|thumb|right|]] [[File:dryad023.jpg|175px|thumb|left|]] |
− | | | ||
− | | | ||
|- | |- | ||
− | | style="font-family: Gabriola, serif; font-size: 26pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: left; border-bottom: 2px solid black" | | + | | style="font-family: Gabriola, serif; font-size: 26pt; font-weight:bold; font-variant: small-caps; color: #009933; text-align: left; border-bottom: 2px solid black" | RP HOOKS |
|- | |- | ||
| | | | ||
Line 71: | Line 67: | ||
| | | | ||
|- | |- | ||
− | | [[image:dryad016.jpg|250px]] | + | | [[image:dryad016.jpg|250px]]*[[Cash]] - Nice bloke, and not averse to a daft wager. |
|- | |- | ||
Line 243: | Line 239: | ||
| style="font-family: Gabriola, serif; font-size:16pt; font-variant: small-caps" | Played By | | style="font-family: Gabriola, serif; font-size:16pt; font-variant: small-caps" | Played By | ||
| Daisy Taylor | | Daisy Taylor | ||
+ | |- | ||
+ | |colspan="2" | <center> [[image:dryad019.jpg|350px]] </center> | ||
+ | |- | ||
|- | |- | ||
|} | |} |
Latest revision as of 05:18, 7 July 2022
| ||||||||||||||||||