Lamia's been busy in the Real World. You may have noticed: the bar's been warmer than it otherwise might have been.
Now, she stands in the doorway, theatrical, her alabaster skin highlighted by the velvet she wears from shoulder to ankle. Her pale eyes scan the bar coolly -- and a glance from a Velvet can be quite cold indeed.
-- still, there's
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Fortunately (unfortunately? though that probably depends on your point of view) Sariel hasn't noticed the frost behind Lamia's look yet. Her attention's on the chessboard in front of her, newly produced by Bar. From the fond amusement on her face, it's fair to say the gameboard wasn't her idea.
Clack, clack. Warm hands set the first two pieces in their places. It might just be fitting that one is the white queen.
Maybe.
The other is the black queen's side castle. If Lamia cares.
If she's even noticed Sariel from the doorway.
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(What's chess, after all? A game with too many rules and not enough ways to break them.)
After she surveys the cheerful chaos of the bar, though, it's strange -- Lamia finds herself drawn back to the quiet, purposeful placement of the pieces, white and black.
She can hear them from here: clack, clack.
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It's true, too. The placement of those pieces is quiet in the rather louder, friendly chaos of the bar. Then again, who knows what a Velvet can hear? Sariel doesn't. Clack, clack. Two more, black queen's side bishop and white queen's side knight. The knight's features hint at female. The bishop wears the suggestion of a hat from the Ancient West.
But only a suggestion.
And isn't it fitting? There's a quiet, purposeful young woman behind that gameboard. At least, behind one side of it. The other half doesn't appear to have a player yet.
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Her feet step forward in small (dainty?) movements towards the chessboard, one in front of the other.
If you're listening for it, you'll hear the faint rustle of velvet. That's about it, though.
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Clack. Clack clack. That's three pawns, all black, landing in their squares.
And no, Sariel isn't listening specifically for velvet rustling. She'll probably notice once Lamia's drawn relatively near, though; she's not unobservant.
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She stops, a few feet away.
"Are you playing yourself?" she asks, curious.
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"I'm not playing anyone at the moment," she answers. "Bar only gave me this a minute ago." She's polite, pleasant, if a little reserved. "It's the second time she's given me a chess set unexpectedly." Why would she be anything else?
"Would you like to play?" The chair opposite Sariel's own is empty.
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"It's been a while, but I suppose I could give it a try."
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The black pieces are currently facing Sariel, but that could change. The chair nearest the white chesspieces is the empty one.
Clack, subtly. That's a white pawn finding its square.
((OOC: Say sorry! I had zero muse, and then got knocked over with a need for sleep.))
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She shrugs, lightly.
"I've found that either side can win as easily, if you have the right strategy."
She ponders, head tilted. "But I'll take a stand for the shadows, today. If you don't mind representing the light."
(ooc: it is definitely okay! never fear.)
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Black isn't always shadows. Sometimes it is, though. Then again, bright isn't always good.
clickclick clickclick click clickclickclick click
And was there a second meaning behind Lamia's use of specific words? There must have been. ... Unless there wasn't.
That sort of representing the light is nothing to object to. Then again, black isn't always a bad thing.
"I don't mind," Sariel answers, part formal, part careful, part quiet statement. She's not lying. Not with words, and not with the inflections layered behind them.
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She slides into the chair, turning the board carefully so that none of the pieces topple.
You might get the idea that Lamia is good at balancing things - literally, but metaphorically, too. (Of course.)
She begins putting some of the missing pieces into place, placid and delicate.
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