Dramatis Personae

Alizée Aella Zephyr has already been known to me both by name and by reputation; a distinction I presumably share with each and every citizen of Shal’Azura. Getting to know her on a more personal level, however, has been rewarding indeed: She is a kind and generous soul; quick to anger and equally quick to placate, and her laughter and bubbly personality soothes one’s spirit like the finest nectar. Alizée defines herself not via her name or her status, but via her actions and decisions, and her affection for and devotion to her friends (including her utterly adorable pet Snowflake Drake) is truly a sight to behold.
Alizée’s music is a grand concerto, booming and bombastic and unaffected by the confines of score or notation. Every now and then, a few tantalizing triangle rings hint at the existence of another secret motif hidden deep within the grand scheme of things, but they are, as of yet, elusive.
 
Oro’thion is a colourful fellow in every conceivable sense of the word. Well-versed in both physical prowess and magical ability, he is a dependable defender and ruthless hunter of those he deems wicked. He also happens to be the co-proprietor of the finest tea house in all of Shal’Azura (a judgement I would deem myself qualified to make) - a fact that, at times, seems to take him by surprise just as much as it did me when I first heard about it.
Oro’thion’s music is a relentless march, almost military in tone. It is punctuated by surprisingly frequent melodic flights of fancy, seemingly breaking away from the rigid confines of the underlying leitmotif. All the while, a contingent of horns consistently remains in the background; subtle but omnipresent, as if to symbolize an ongoing hunt that cannot and will not be stopped for any reason.
 
Aurelie More’ta is a lovely young woman of 4+[solve for x] years. She is the proprietress of M.O.R.E., a shop offering gadgets and knick-knacks and wonders galore, which I absolutely must visit at my earliest convenience. As skilled and capable as she is, she seemingly remembers very little of her past; a circumstance that she takes in stride quite admirably. I have suggested to her that keeping an open mind and trying out new and perhaps unfamiliar things might jog her memory in that particular regard, and she seemed receptive to such an approach. Of all the creatures I have encountered up to this point, alive or otherwise, Aurelie is the one I feel most connected to. Wer immer strebend sich bemüht, den können wir erlösen – excuse my rusty Old Zemnian; I cannot actually speak the language, just regurgitate bits and pieces of it at dramatically opportune moments.
Aurelie’s music is a steady, slow metronome; freqeuently interspersed with soli of piccolo flutes and oboes fluttering hither and thither, searching for new (or forgotten?) themes to add to the melody. In general, there is a clear emphasis on da capos and variations of earlier motifs, signifying an overarching emphasis on rebirth and renewal.
 
Siham “Steam” Jal’Zuun is a water genasi from Ayn Almara, an oasis in the deserts beyond Shal’Azura. Besides M.O.R.E., said oasis is possibly the place I want to visit the most, not only – but admittedly also – because of Siham’s vivid narrations. Siham is a quirky and inquisitive fellow, expressing just as much curiosity about my birthplace as I would if our roles were reversed. The wisdom he bestows upon us is absolutely invaluable, but it might benefit us and him to keep him away from the shadowier and slightly more unsavory side of Shal’Azura.
Siham’s music is a steady leitmotif that recurs unto itself; referring back to a definite point of origin. Beyond that, a multitude of instruments bursts outward to navigate new and unexplored territory; seemingly eager to learn and adapt and encapsulate. This entire scherzo is tempered by a sonorous, almost imperceptible drone that evokes images of strict discipline and hard-earned lessons.
 
Yuri is a humanoid™  hailing from the depths below – or so we think. He is not particularly forthcoming about his past. He also happens to be the second co-proprietor of the Ta’alaq, for better or for worse.
Yuri’s music is difficult to grasp. It certainly is a multi-faceted affair, including a wide variety of musical instruments I know as well as, even more interesting, some I have never heard. There is a somewhat steady rhythm there; possibly referring to his recent co-ownership of the Ta’alaq, but the tune beyond that is, for now, bland and non-descript – possibly intentionally so. At any rate, Yuri’s music does not incorporate much in the way of reprisals – almost as if the music itself were afraid to recount its own past.