Xiandan Rigging

All Tied Up

It is said that in ancient Ozlith, harming a prisoner in any way was punishable by death. The centurion legions developed and taught an art of binding to be known and used by all. The careful ties made were inescapable, but also ensured the safety of prisoners so that no harm may come to them as a result of the binding or the instinctive urge to resist it. The ropes rarely needed to be excessively tight. Even when hauling prisoners over long distances rope burns, cuts, and other common injuries seen amongst prisoners of war in other cultures were non-existent. This art fractured into two distinctive styles when the empire fell. In Lartasia, it has become a sensual experience shared by many. Its symbolic for a trust and love for one another. To be put in such a helpless and powerless position, one requires both. In Xiander, it became something much more...

— First lesson at the College of Ropes

Rigging is a cultural tradition in Northern Mhirriah particularly in the Xiander province. This tradition is taken from a ancient art of binding prisoners in the fallen empire of Ozlith. Initially the practice of binding was solely used for prisoners to ensure their safety during process of binding as well as safety during the time of being bound. The centurions of Ozlith began to notice a high fatality rate in prisoners of War. Due to the fact that the empire took prisoners quite often and rehabilitated them to make it easier to integrate into the empire, this posed a threat to the increase need of soldiers and workers within the empire's ever-expanding borders. The centurions determined the cause of the fatalities. Most deaths among prisoners were directly or indirectly caused by wounds that were inflicted in the process of restraining them, resistance from the prisoner, or the natural effects of travel in bondage. The empress at the time to create that it was legal to treat the prisoners inhumanely as the moment they are rehabilitated they are citizens of the empire. The centurions began practicing on themselves and each other, developing an art of bondage that spared the one being restrained significantly more, and mitigated the negative effects that are still a risk.

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Entrapped

The main challenge they faced involved three distinct problems. The first was finding a way to create an even distribution of tension for binding without it being too tight or easy to escape. The second was the need to find a means of creating equal pressure and force across the restraints if the prisoner requires complete restraint or suspension. Finally, they needed a means of controlling the prisoner without harming them for travel.
By carefully testing placement of knots, experimenting with tension and compression, has developed a complex system involving nearly a hundred different knots and the techniques on how to use them and integrate them with each other.
It was at this point they came across another obstacle. Every individual who is restrained has a distinctive body type that differs from others. This in conjunction with weight, flexibility, pain tolerance, and skin sensitivity all impede restraint. Another factor is injury. It is difficult to humanely treat and restrain a prisoner that is injured. Fractured or broken bones, sprains, muscle spasms, and other forms of injury directly impede the centurions efforts, leading them to focus far more on teaching the methods of analyzing a subject for restraint then the actual process of binding the subject.

Risks

While the original form of rigging in Ozlith was a much more effective and safer way to treat those who are restrained, it and all other forms that branch from it, have some risks that are always looming over those who practice.

• Nerve Damage: Certain areas of the body have groups of nerves that can be damaged if too much tension is applied to the area. Some cases can be permanent, especially after prolonged exposure.
• Compression and Asphyxia: Incorrect rigging can cause knots to collapse and slip, tightening the knot down on joints or around the neck which could lead to injury or death.
• Necrosis: Over long periods of time, restriction of blood-flow can result in necrosis in the limbs, sometimes requiring amputation.

Entranced

This is where the modern forms of the art stem from. The one in control of the Rope must possess acute ability to improvise and adapt to their subject. This often resulted in bindings that were radically different for the latest subject compared to all subjects previously bound. These findings often feature complex patterns that are unique to that particular subject. The centurions often looked at it as an art form and treated as such. According to historical records that have survived, both the bound and the one who is restraining them enter a meditative state during the process of a strait. This meditative state is considered sacred among modern riggers, as it was to the centurions who practiced it before. This trance is different for each individual involved. The one who is restrained often feels a floating sensation coupled with euphoria and lack of mental clarity. Their resistance is often little more than minor contortions of the muscles. The rigger often feels a sense of pride in their work as well as an overwhelming feeling of protective ownership over the one who is bound. Each knot is meticulously planned and tied, every wrap carefully made around the subjects frame.

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Teeth and Friction

There are two forms of this art currently practiced in the present. The first is in Lartasia, referred to as Lartasian Binding. This particular evolution of the art is more focused on the connection between the parties involved then the purpose of the binding. It is often considered sensual seductive or at the very least therapeutic for those involved.

In comparison, Xiandan Rigging is far more practical in application. The first examples of rigging we're often only done to suit very specific purposes and each binding served a function. This led to the first style of rigging used in the present, which is often times the first style learned by those who wish to be taught. The style was referred to as Vethium. Taken from The Ozolithian Language, the word is contextual and has two parts. Veth, meaning practical or functional and Ium, meaning purpose. In context the word literally means to tie with practicality in mind.

Vethium

This style emerged as a necessity. Warriors in dire need of balance or weighed down and often found it difficult to find their centers of gravity with heavy lengths of rope hanging off them on one side or the other. Carrying the rope in a single bag posed similar issues while also making it very difficult to retrieve bindings quickly and efficiently. In response, these men and women utilized the art they had learned fix the ropes to themselves often times with a collapsible knot. The weight would be evenly distributed and the collapsible not is usually placed in a specific point allowing the collapse of the not to undo the entire structure of the binding. This quick release allows the wearer to implement it as a restraint oftentimes without second thought.
As time went on new structures of rigging the Rope emerged with even more purposes in mind.
The Assassins harness for example is a rigging that is worn underneath ones clothing and armor with a single rope attached to a grappling hook on the outside. The harness makes scaling walls significantly less dangerous, and also provides an effective way of tying prisoners to oneself so they cannot run away without taking you with them.
The Prayer of Penance is another example of structured rigging in the Vethium style. Like most structures in the style, the prayer of penance is a self tied rig. The rig is also a suspension designed to maximize pain. It comes in three distinctive stages depending on the severity of one's actions for which they are trying to achieve penance for. The first stage is merely a harness weighed down with iron tide on the chest and back with a particularly abrasive and stiff rope. The weight Force has the fibers to cut into the skin ever so slightly.
The second stage is a chest and arm binding where the arms are bound at the back, attached to a full harness that leads down to the waist and up to the neck and head.
The final stage is usually reserved only for those who are guilty of heinous crimes in the province and requires a spotter to observe the self binding to ensure death does not occur. Starting with the second stage the penitent will bind their legs suspend themselves 4 feet in the air before binding the arms. After approximately three to four hours the binding is allowed to be removed, usually with the same quick release knot that established itself in the beginning of the style.
These are only two examples of the mini rigs used in the style. the main thing to keep in mind is that the style is specific and rigid, offering very little in the way of improvisation save for the analysis of the frame that is being bound. Any improvised knots or freestyled ties often interferes with the rigs ability to perform its function. As such these rigs tend to be very easily taught and easily learned as they have detailed instructions on how to create each rig.

Makius

The second Style came about as an evolution of the first. With Nominubi no longer being made, and few in Mhirriah even wanting to keep to the tradition, it became difficult to distinguish one's status. Thus began the Makius style of rigging. The style is far more artistic and decorative then its counterpart. The color of rope along with the way colors are arranged in the rig as well as the location of those colors on the body all speak a language that one can easily translate simply by looking. The chest is often reserved for one's tribe using different colors and textures of to emulate the clan's colors. The right arm was reserved for military rank indicated by the amount of wraps and knots made in The binding. The left arm is reserved for occupation, specific patterns used to indicate skill and solid colors indicate the general profession. The neck is reserved for a particular form of binding indicating marriage or betrothal. Is this particular binding is often removed and placed on the wrist before battle. The purpose of this is to avoid the disadvantage it brings should an opponent attempted to choke you with it, called a Widow's Loop.
Mhirrian fists are knots about the size of what's fist with a ball of iron at its core. Seeing one indicates status of or at least house hold power. The man and woman of the house are both allowed to wear one, whether peasant or noble. High-ranking members often wear two, one at each side. This particular knot also functions as a weapon giving its weight. There are many more examples of these rigs, some even worn under clothing. Others are worn over armor. The style is very decorative and focused on aesthetics more than function.

Twixt

The Twixt style emerged shortly after the invention of twixt twine which gives it its name. Twixt wine was invented by a bardic college in Estoya. The College of Ropes popularized Xiandan Rigging and Lartasian Binding in Estoya, and improved upon them by imbuing the ropes they used with pure Arcane Energy. This energy can be tapped into allowing one to achieve many magical effects. The Fool's Snare ,for example, is a form of rigging that is incredibly loose compared to that of others that may be visible. It is always worn on the outside and is designed to be grabbed by an opponent in hopes of gaining an advantage by controlling the wearer. Is this is done the the force will activate the snare, which completely unravels self and ties the opponent's arms behind their back tightly. The Rope will also wrap itself around the neck of the opponent compressing slightly. There are three word commands they can be used on the snare. If one were to use the word tighten or kill, the Rope will constrict itself breaking bones and restricting airflow and tell whoever is restrained is dead. One can also say loosen to stop this process or to remove the snare. Commanding the road to stop will cease the rope from tightening further but will not undo it.

Another example of Twix twine is how one can use Arcana Formulae in their rigging. One can use the rope to tie simple enchantment symbols like runes and sigils into the rope. The arcane energy in the rope will fuel the enchantment upon completion of the rig.

Rope Work

Most rope structures used in the present allow for some artistic expression save for the Vethium style. Everything from size, color, composition, smell, embellishments, and treatments all offer personalization to the structures a rigger can make.

Substance

The importance of the ropes composition cannot be overstated. Comfort is directly determined by how course or smooth the fibers are. Composition and maintenance are arguably more important than the methods of binding.

There are generally three role compositions that qualify for the intended use of rigging.

• Gotl: Gotl is a plant fiber that is remarkably strong but retains a soft and smooth surface. It is similar to rope made in Ozlith which was made of a silk like fiber. this is considered the highest quality rope for rigging but is temperamental and requires consistent care or it will degrade.
  
  
  
• Velko: Velko is generally rough and abrasive, but can definitely work with conditioning and proper treatment. The rope is of poor quality and has a tendency to slip and collapse with tension. This is usually the fault of poor training and it increases the risk of injury to the subject. While not high in quality, it can certainly seem like it. It's usually regarded as an "experts rope" due to the skill needed to treat it, condition it, and rig it properly.
  
  
  
• Saraluce: Saraluce is incredibly slick and one if the softest substances known. It is a fully synthetic rope created by Arcanists and Bards. It is hard to make and can be costly to purchase, but is considered the best form of rope to have as It is ideal to create Twixt Twine. When used to make Twixt Twine, the rope is as soft and malleable as the rigger desires, even to the point of flattening itself, looking much more like a long strap or a scarf than a length of rope.

by AARON_MCPOLIN

The Ties That Bind

In Xiander, a marriage rite emerged among the warrior class. If two warriors married, they would bind each other and unite the rigging, creating a single, highly complex, and often beautiful suspension structure of rope. The rope itself is often the softest rope available, made from plant fibers with a similar feel to silk. Both parties experience the meditative states often felt for both the rigger and the bound. They often linger in the air for some time before the bindings are removed. From that point onward, they are never to fight alone, always side by side in battle as they are in everyday life.

The Blooming Rose Demonstration

Gione looked over each hank of rope, appraising them for any imperfection that may impede Lio's experience. The crowd gathered around them though he failed to notice. He was used to being the center of attention. He tied a knot with easy around her ankles, slowly pulling to allow the knot to collapse. His experience and status at the college couldn't be questioned. The knot was perfect. It wasn't too tight or too loose, the rope lightly brushing the skin with its soft fiber, like silk as it took tension. He raised the rope, and the faint hint of rose water diffused with the air as he began wrapping her legs. He crossed the ropes over and over, creating a pattern of diamonds as he neared her waist. He stopped, and looked at her. She was shaking. It was impossible to see with the naked eye, but he felt the shudder at his touch. Their eyes met, exchanging so much more than words ever could. The lifting of the brow, indicating fear before lowing to show acceptance as he placed his hands on her side to comfort her or ask if she was really ready.
she didn't nod at this unspoken question. Her eyes narrowed and she licked her lips subtly. Lust.


He lowered his hand, pushing her legs together for a tighter binding. The knot was brought down, making a slight impression in the skin. She loved the marks it left. Gione brought out a wooden box, and she sat, presenting her wrists next. It was only then she realized the crowd. They kept their distance, standing almost 3 feet away from the 4 wooden posts that circled them. She felt an uncertainty, would this be the one time he ties it too tight? Would he make a mistake? Gione, made several wraps with the rope, tying an intricate set of weaves that held her hands together. She felt dizzy, and as he began working up the arms and to the shoulders, binding her completely, she fell silent as he worked. The voices of the people disappeared and he was all that remained. She felt like she was floating just outside of her body, part of the world but no longer in it. How long had she been sitting there? The embellishments of roses and vines were already interwoven in the rig. Gione finished, and she sat in serene silence for all to view...

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Conditioning

Skill and rope type make up only half the battle. Conditioning the rope is essential. "breaking in" or "polishing" the rope are all factors that come to determine a ropes effectiveness and lifespan. Each type of rope requires its own conditioning save for Twixt Twine, which is conditioned and maintained on its own by the arcane energy within.
Like the art of binding, the practice of caring for ones ropes is a sacred ritual for a rigger. The process is done In many ways, often at different times like before use, when storing, and routine maintenance over long periods of storage.
Breaking in one's rope, referred to as polishing, takes three steps. First the rope is boiled, and set out to dry. The stiffness is loosened as the fibers expand in the heat and the rope becomes pliant and softer as a result. The second stage is to further loosen the fibers by "sawing the rope" on a smooth surface. The sawing motion further opens the rope but along with boiling, usually causes dry fibers on the surface to fray, which can be very abrasive. This leads to step three which is to take an open flame and pass the rope over it, carefully but quickly. This burns the abrasive splits, no matter how small, and creates a smooth surface that is even softer.

Treatment

Treating the Rope is also essential 2 caring for one's rope. Riggers often experiment with many different solutions, bathing the rope in it or coating the rope with it for a wide variety of purposes. These purposes often depend on which of the two methods of treatment for rope are being used.

Solid treatments usually involve a bar of wax applied to the rope, or a soap bar applied to the Rope for washing. Both methods do the same thing. They keep the Rope clean and seal the fibers so that nothing May penetrate them or escape them. Solid treatments also create stronger bonds in the fibers preventing breakage.
Liquid treatments are usually used before applying solid treatments so their effects are sealed in and last longer, if solid treatments are used at all. Liquid treatments usually involve applying fragrance to the Rope as well as further softening the surface or applying arcane effects to the rope such as potions and oils. One also uses liquid treatment to dye the Rope especially before sealing it to keep the color in. Generally speaking every rigger will have one or both forms of treatment made to their preference on hand.

Table of Conditioners (WIP)

The following table is a list of treatments and the various effects they can give to the rope depending on the kind of rope used

conditioner	Effects	Ideal Rope Type
Honey Wax	Solid treatment harvested from bees and infused with honey. The treatment

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Rig Decor

Rope artists, particularly from The College of Ropes, add many embellishments to their structures during binding and even afterwards when they display their work. While decorative ropes offer nothing in the way of function, they offer much in the way of artistic expression and creativity allowing a rigger to personalize each and every tie the make. These ornamental ropes evolved from Lartasian Binding. The only practitioners of this form of bondage in Estoya belong to the College of ropes who taught it to the Mhirrians in Xiander. Due to its origin in a bardic college, It is often only seen used by those who use Twixt Twine. This doesn't necessarily mean that these ornamental ropes have arcane function, though it is certainly possible. Most of the time they are mundane and designed to enhance the beauty of the rig that is created. Many who practice Xiandan Rigging use it as well in their binding though they often only do so when using either the Twixt or Makius styles. Many examples of rig decor exist and some are not even made of rope.

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Beaded chords

The most common embellishment used in Xiandan Rigging is beaded chords. the beads can often have a rune inscribed upon them, making them functional rather than just decorative. The ropes and beads are usually chosen to contrast and color with the primary rope used for binding the subject. The beads are usually well kept and clean allowing them to shine or in some cases glow depending on the composition of the beads. The ropes themselves are usually no longer than 3 feet as that is the standard height for suspension structures, though it is not uncommon for longer cords to be used for suspensions that are higher or for artistic purposes. Some enjoy using ten feet or more to trace the ground lazily under the subject in loops and spirals. Recent additions in rigging have emerged in the Vethium style, sporting beaded chords that are designed to hold and conceal small sharp and pointed objects for defense when all our other means prove ineffective.

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Props

as is the case with all rig decor, props are usually only used for artistic expression. The College of Ropes do have some knowledge of rituals used Lartasia that gives specific purposes to certain props used. One such example is the use of an ancestral sword belonging to the subject. The sword is sheathed within a complex set of knots lining the spine of the subject. With the right combination of knots and patterns used in the overall rig, it is said that the subject commune with their ancestors.

Vine work and flora

Shamans and Druids of the The Mhirrian Circles often make use of Flora 2 accentuate the connection with nature they and their subjects have. They make use of whatever plant they prefer, and waste nothing of the plant they harvest including vines, seeds, flowers, stems, leaves, and in some cases thorns for the more masochistic subjects. It is often shocking to witness and for many it is equally shocking that the subject would participate willingly.

Feathers, Fur and Bones

In Erzhabell rigging is often used to display bodies of dead prisoners, usually Xiandans who remain their rivals. This bastardized form of the art is considered disrespectful by most of the provinces. The ropes and bodies are posed and dressed as animals using feathers, bones, and fur. The practice is less common in the present as Mhirriah is currently at peace. Erzhabell is not the only province to use the art. The Sea Shamans of the The Highlands use a similar method on themselves. They decorate their rigs with shells, ocean flora, and scales taken from the ocean floor.

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Table of Rope Rigs and Structures (WIP)

The following table is a list of rigs used in the art. Rigs are based on rope structures, which dictate the kind of knots one can use and how to use them. Structures also determine the area of the body that is being bound and the amount of rope that one would need in order to complete a very basic example of the structure.

• Control structure: Control structures are specifically designed to control the subject when completed. Usually it is the first structure learned and can be done with the simplest knots. The amount of rope required rarely exceeds 6 feet and most often refers to bindings of the feet and legs or bindings of the hands and arms.
  
  
• Harness Structures: Harness structures are always used around the upper body from the waist to the neck. They are a slightly more complicated structure compared to control structures and are almost always used as a starting point for more complex structures such full body structures and suspension structures, both of which almost always require a harness.
  
  
• Half Body Structures: A half body structure involves the combination of controlled structures and harnesses to bind half the body. Usually this is done in preparation for full body structures and suspensions. Very rarely does one stop at a half body structure but there are numerous methods of doing so it will accomplish goals depending on what style when is using.
  
  
• Full Body Structures: Full body rope structures are exactly what the name suggest. full body structures are structures of rope that restrict movement across the entire body. This is considered an advanced method of binding and should never be attended by A novice. The placement of knots across the body, especially where the tension and weight rest, must be carefully selected and tied to prevent injury and mitigate risks. Previous structures discussed are involved in the creation of a full body structure. Control structures and harnesses are often employed allowing one to create half body structures. This allows for a wide combinations of knots and rigs making each full body structure unique.
  
  
• Suspension Structures:Suspension structures are either half or full body structures that allow one to suspend their subject in the air. It is the most advanced form of binding requiring a intimate knowledge of many different knots and rigs, as well as their applications, strengths, and weaknesses. The ability to create a suspension structure is often regarded as a sign of mastery, particularly among bards in the College of Ropes. One usually knows whether they are going to be suspending their subject before they start binding as this will heavily affect where knots will be placed and which knots will hold more tension and weight. Subject can be hung from a rope structure above them, or from hooks specifically attached for this purpose. Many riggers have their own hooks and suspension frames for more convenient anchoring of their subject.

Rig	Structure	Functions	Rig Style
Assasin's Harness	Harness	Worn under clothing, the harness is designed to assist in scaling walls or mountains.	Vethium
Xiandan Fists	Decorative Structure	Worn on the hip, usually attached to a harness, the rope is a single line with a balled knot at the end.	Makius
Penitence Brace	Control structure	The brace is a series of wraps and knots that bind the arms and ends the penitents harness.	Vethium
Penitant Harness	Harness Structure	A very tight harness usually tied with abrasive rope as a form of penance for the subject.	Vethium
Penitent's Lift	Suspension Structure	Once the penitant's harness is done, the subject then ties around the legs and suspends themselves before finishing with the Penitent's Brace.	Vethium
Xiandan Snare	Harness	A very loose harness of Twixt Twine that ensures anyone besides the wearer who grabs it.	Twixt