In the fading twilight forests of northern Kyonin, where elven memory stretches longer than most human kingdoms endure, Carver Beyson was considered unusually impatient. Born to a family of archivists and stargazers, he spent little time admiring poetry beneath moonlit boughs and far more time dismantling magical lanterns to see how their enchantments worked.

At barely forty years old—young by elven standards—Carver enrolled in a minor arcane academy near the Lantern Coast, where he quickly earned equal measures of praise and concern. His instructors admired his grasp of evocation theory, especially his ability to manipulate thermal gradients within destructive spells. They were less enthusiastic about the incident involving three summoned mannequins, a copper fountain, and a “spiraling directional fireball experiment” that accidentally melted part of the dining hall roof.

Carver became fascinated with the history of lost civilizations after uncovering fragments of translated texts from ancient Osirion. The stories of forgotten tombs, dead gods, and buried empires captivated him. To Carver, ancient ruins were more than treasure vaults—they were laboratories of magical history waiting to be rediscovered.

His obsession with the spell fireball grew alongside these studies. Most wizards viewed it as a blunt instrument. Carver disagreed. He experimented endlessly: compressed detonations for breaching doors without collapsing tunnels, delayed ignition patterns, rolling bursts shaped by wind currents, even color-shifted flames designed to reveal invisible ink and hidden runes on ancient stonework.One of his teachers gave him the nickname, Arclight, but refused to explain the origin of the word.

Now, carrying a weather-stained spellbook and a satchel overflowing with charcoal rubbings and half-finished theories, Carver has arrived in the bustling markets and sun-scorched necropolises of Sothis. Officially, he seeks historical knowledge. Unofficially, he hopes the tombs beneath Osirion contain forgotten magical principles that no modern wizard has dared attempt.

Unfortunately for everyone nearby, Carver firmly believes that “controlled magical overpressure” is the key to archaeological progress.