#𝐓𝐇𝐄 𝐍𝐄𝐂𝐑𝐎𝐌𝐀𝐍𝐂𝐄𝐑 ‒ nikodemus ║ HEADCANONS

[vullcanica]

Having a lot of fun thinking about nik having minor and increasingly weird curses on him for various periods of time. I'm talking things so casual he either doesn't notice them for a long while or doesn't care to break them. Couldn't drink wine without at least mildly choking on it around the 1750s. Still feels a hole burning into his tongue every time he says one particular old roman name. Kept getting struck by lightning during thunderstorms for a period of 30 years until he tracked it down to one particularly spiteful druid's bloodline. Most dogs are morally inclined to bite him. He has the opposite of a green thumb. And, since I'm thinking of an NPC medium for his story, I've decided they're the type to very quietly and cheekily slip him a karmic curse for bad luck whenever Nik comes around. It's the equivalent of finding a 'kick me' sign on his back every so often. He's metaphysically a chaotic patchwork of various energy and some magic from whatever witches or preternatural creatures he would've Gifted at the time, so little inconveniences like this often go unnoticed.

[vullcanica]

Nikodemus' avid interest in music and dance stretches far back to deep antiquity where his earliest iterations partook in peasant folk music and the oral traditions surrounding it. To him, melody has always begotten movement - whether of the body or mind or, likewise, spirit - and is at its best when written for such purposes. Krilnei was rich in folk music divorced from the ceremonial and religious movements of the outside world and held more personal connotations for its commonfolk and the various festivities celebrated in the village. The culture also freely borrowed from settling travellers and nomad musicians, who would contribute their own practices and foreign influences to the krilneian musical craft. There was unchecked freedom of expression and, tangentially, a staggering speed of innovation in rhythm, melody, lyricism and harmony, borne of experimentation. To this day, the Necromancer is partial to rich, full, layered music and multiple voice compositions.

Nikodemus' later venture out into the world and his several stints into organized religion - a leading authority on music at the time - left him bored of the stiff tenets of plainchant, where he nevertheless flourished into his natural baritone. He followed more closely the works of free composers who were spared the limitations of faith-sponsored musical education and largely benefitted from that - men and women whose contribution to the creative word were never recognized and preserved as holy, and thusly have not survived anywhere but the bowels of Nikodemus' libraries of personally transcribed songs. His curiosity about the originality of the sung word lead to him supporting - and even quietly pushing, through the orchestration of several religious rebellions and sects (already a frequent meddler in those affairs himself) - the full divorce of music from the limitations of the holy language, and then, from the whims and patronship of the rather droll ecclesiastic class. Then sat back and watched musical diversity grow as it moved away from the sacred.

He opted to finally pursue a musical education in later eras and in many forms from lands far more vivacious, just in time to catch several Golden Ages where he greedily picked up languages, songs and dances like a man parched - then returned to his homeland, taken by the rapid development of classical composition, the rudiment of opera and the transition from courtly dancing to partnered romantics. He sought brief operatic training - only so far as the whim held him - then resigned himself once more to participating in the creative world in other ways. Easy wealth - sometimes earned, mostly not - always allowed for patronship of the musical arts when he felt like it; money he would blow elsewhere anyhow. When the practical need to pose as noble or even royal arose, an excuse to fill courts and travelling parties with household musicians did too. He would always have a flutist, oudist, drummer and harpist in tow. In later centuries, a pianist as well. All always specifically famous for their dance music.

Every few centuries he would hire select musicians to try and bring to life his library of old krilneian music - at times to resounding success, other times to failure, but never to the survival of the chosen few. It's a nostalgic indulgence of his none are privy to - for long, at least.

[vullcanica]

@vilestblood : O = Oral (preference in giving or receiving, skill, etc.) <- this one specific to kinkshame Nik

NSFW alphabet

For a man whose sharpest weapon is unironically his silver tongue, it's no surprise he knows how to use it devilishly well and has an ardent penchant for doing so. Colloquially, an absolute slut about giving head. Firstly, on a more shallow level, oral is a good tool for dominance when his mood and partner calls for it, in cases he wants to hold firm control over another's pleasure and limits - can go at it for hours if he's made it a point to ruin someone's composure or toy with them. Secondly, since he's in possession of a genuine fixation, giving oral brings him actual pleasure beyond any second-hand enjoyment of his partner's satisfaction (and there is that, too, with certain lovers). He'll go down on someone for his own gain sometimes. Thirdly, giant fan of relinquishing control to trusted partners and having them take their own pleasure from his mouth - facesitting, facefucking and the like, usually in connection to kinks like degradation, humiliation, even breath play in select, reliable company. It all depends on the situation and partner, but in this respect he's varied, proficient and never disappoints. Unmatched skill across verses with no gag reflex to speak of and a selection of tricks up his sleeve.

Enjoys receiving oral too, to a slightly lesser extent, but enthusiastic nonetheless. Certainly a talkative, loud recipient. Hair tends to be in danger near his grip if he gets particularly into it.

[vullcanica]

If you actually put together a comprehensive compendium of Nikodemus' medical history, all manner of death, illness, decay, etc, you would have a goldmine of data on forensic anthropology, virusology, traumatology, genetics, cytology, psychiatry and ancient curses. Walking body farm of a man. Survivor of the silliest deaths imaginable. Medical abomination. Doctors hate him for this one trick he used to avoid mortality. Doctors are hunting him as we speak. The subject has breached security. Code Red.

[vullcanica]

Any changes Nikodemus does to his body don't stick once he dies and is resurrected. Which is great because wounds fall into the category of changes, as do scars. But so do tattoos and piercings. The former's completely useless to him, he's got moving ink anyway so if he wants a pretty picture on his skin he can just will it into existence. But piercings. Is where he has fun. Earrings, dermals, lip and nose rings, nipple chains, tongue stud, bellybutton and below, he's done plenty and enjoys bejewelling himself when the whim befalls him. Heavily sometimes. The process of re-piercing doesn't bother him. In fact it's the best part.