Mountain Township -- Eliad
You find yourself at the mouth of an enormous box canyon. Nestled at the 
base of the sheer cliffs forming the canyon walls is the township, a 
collection of small buildings erected to provide a common service to the 
agricultural efforts here. A sign declares travel beyond this point 
impossible without repulsorlift vehicles...and there isn't a rental 
dealership in sight. In fact, chances are there's not a repulsorlift 
vehicle in town, aside from cargo sleds used to haul goods to the 
starport. A waterfall spills down one of the cliffs in a lacy cascade, 
splashing into a large pool next to a mill. The waterwheel of the mill 
looks to be more stage-dressing than utility...especially when you 
notice the small fusion plant built into the mill's structure. The 
buildings are simple in design...but closer inspection shows a number of 
details added that speak quietly of a fair amount of money involved in 
their construction.
Contents:
Kaye
Kylariss
Kasha
Obvious exits:
 <FS> leads to Mountain Home Fruit Storage.

Ereqai poses.
Bourne poses, too. And it's a good pose.
Kaye does a little something, by himself, in a corner. ;)
Bourne does not see Kaye doing something by himself in a corner, or he'd 
be forced to arrest him. Instead, he continues to pose in response to 
Ereqai.
Jervis . . . o o O (Mmmm... Pot pie.)
Ereqai poses in response to Bourne, a deep, wise, and philosophical pose 
that none of our small minds could possibly understand, so it won't be 
reproduced here.
Bourne poses a pose in response to Ereqai. It's a simple pose, but one 
so brilliantly insightful that it invokes the whole range of human 
emotion -- ectasy to sadness, terror to victory, love, and hate. It is a 
pose which, years from now, you'll tell you grandchildren about.
Ereqai poses in response to Bourne. A pose Hemingway would be proud 
of...one that omits. But it knows that it omits, and what it omits, and 
it becomes stronger with the ommitance, more powerful, more meaningful.
Bourne's pose recalls Steinbeck at his greatest. A small slice of New 
Republic life, from a character who is not great, nor evil, but human, 
struggling to survive in the cold mountains of Eliad. Its power comes 
not from omission, but from humanity.
Ereqai's next pose is poetic. Romantic, certainly, recalling 
Wordsworth's "...still, sad music of humanity..." A pose so vivid, and 
powerful, that you cannot help but cry, it's that beautiful.
Bourne reacts to the romantic poetry of Ereqai's pose with a pose worthy 
of the Bard himself, calling up vivid, colourful images with but a few 
words, each perfectly in rhythm with the other -- it's difficult to pose 
on the spot in iambic pentameter, but somehow, Bourne manages to do so.
Jervis has disconnected.
Kaye cannot help but begin to gag at the cloying atmosphere all this 
melodramatic posing is creating. And in kind, he too begins to pose a 
pose worth remembering, although this one happens to entail a story all 
it's own, a story of a single individual who lacks mercy and 
ruthlessness all at the same time.
Ereqai's next pose is spontaneous and sincere, calling up the ghosts of 
Kerouac and Ginsberg, somehow un-ordered and improvised but incredibly 
ryhtmnic, powerful, and soulfully compelling, all at the same time.
Bourne responds with the sharp wit of Mark Twain, somehow laughing with, 
and yet at Ereqai. Impressive is his use of the vernacular, and clever 
his descriptions of so many places.
Kaye gets caught up in the emotions of the moment, going through the 
motions of a well known dance. Powerful yet graceful, he moves his 
lithe, bulky form to a soundless noise of the tree falling in the forest 
with noone to hear. And running out of words to feed his silly dance on 
eggshells, he ceases abruptly and slowly, his little game.
Roshk just scoffs at all of you, bringing to mind the powerful words of 
the old Sonnet writers, like Edmund Spenser, and writes beautiful words 
worshipping the Moon and stuff. You are all moved to tears by his pose.
Ereqai's following pose is evocative of O'Neill. Dramatic, universal, 
and implying all the great solemn sadness of contemporary life, and our 
inability to find a true sense of belonging in the face of the death of 
the god-head and our inability to find a replacement.
Bourne's next pose responds in the cheap, sleazy manner of John Grisham. 
It's the story of a young, brash Memphis walker pilot fighting the 
nameless corporations. Somehow, a trip to the Cayman Islands is 
involved, and when it's all over, he, and the woman he loves, are 
millionaires, retired on a Carribean island, or a yacht.
Touche. But Ereqai responds in the formulaic, mind-numbingly repetitive 
style of...Robin Cook. There's a conspiracy involved...or perhaps a lone 
repressed homosexual wackaloon. No, both! And..it involves a cure for 
death, and lots of drugs, and some definite sex, and a young, handsome, 
troubled-but-gifted doctor who manages to solve everything and go on 
with his life, now secure and happy.
Bourne parries deftly with the writings of Tom Clancy. He describes the 
good, honest solid military man Bourne is, one who is multi talented, 
with the abilities of genius -- who stays in the military out of duty 
and loyalty to his country. All the equipment used is described in 
excruciating detail, so that by the end of the pose, the reader knows 
/exactly/ how the T-21 repeater works, where it was developed, and what 
its major flaws are.
Kasha goes OOC
Kasha has left.
Ereqai thrusts back with the over-simplified and strangely popular Harry 
Potter novel style. Boring, saccharine, and stupid, yet it still manages 
to be wildly popular, it's the most wanted pose on the MUSH for 34 weeks 
straight.
Bourne ripostes with the wacky hijinks of Dr. Seuss. It rhymes, it 
rhymes! Nonsense words, colours of ham which you know could never 
exsist, animals with wings which shouldn't -- all are used in Bourne's 
pose. Colourful, and insightful, it manages to entertain everyone under 
the age of 6.
Roshk makes mention of Edgar Allen Poe in his pose. Large, dark stone 
castles, dark figures moving about surrepticiously, holding onto secrets 
which span the ages, using those secrets to bring the downfall of those 
around him.
Ereqai retorts with the true-to-life autobiographical style of the 
McCourt brothers, Frank and Malachi. Recalling the days of starvation, 
poverty, and disease in Limerick with whimisical reminiscence, to the 
times of gold-smuggling, teaching, broadway success, marital bliss and 
subsequently marital dysfunction, alcoholism and the recovery, all with 
the overtones of failed paternity and struggle through adversity.
Bourne returns fire with the spelling impaired, ungramatical stylings of 
Hawk. rebble scume are crushed underfoot by the mepier, and the watchful 
eye of this sotmtrppre.
Roshk returns with the stylings of Tom Jones..."It's not unusual, to be 
loved by anyone..."
Ereqai thinks he must merely bow in humble defeat to the Hawk pose, 
having fought the good fight, but being unable to bear up to the weight 
of such a momentous piece of RP modeled after the acknowledged 
TwinkMaster.