How to dance in aura kingdom

Controls of Aura Kingdom

You can move your character in Aura Kingdom with the keyboard, the mouse, or a combination of the two.

Keyboard Movement

You can move your character around with the keyboard, keeping the mouse free to perform on-screen actions.

   : Move forward

   : Move backwards

  : Sidestep left

   : Sidestep right

 : Turn left

 : Turn right


Mouse Movement

  Button Action
Right Click Turn character, auto-attack, open dialogue; equipment, sale, use of props.
Left Click Move, targeted, pick props, open the menu, select the item, rotate view.
Mouse Wheel Zoom camera in and out

Mouse Icons

The mouse pointer will change into various icons based on context, giving you an easy reference for what will happen if you click.

Icon Action
Move/Use: A click with this icon will make your character move to that location. You can also use it to navigate the UI.
Fight: Clicking with this icon will make your character engage the target it combat!
Use: When this icon appears, your character will use whatever item you've selected as your target.
Repair: Clicking with this icon will repair whatever equipment you click on.
Pick up: This icon means you can pick an item up off the ground.
Chat: A click with this icon will talk to a selected NPC.
Teleport: Clicking with this icon brings up the fast-travel map.
Purchase: When this icon appears, you can buy whatever item you have selected.
View: A click with this icon displays information on an item or tool.


Character Controls

Keys Action
  to   Hotkeys. Once an item or skill has been dragged into a hotkey slot in the UI, it can be used/activated with these keys.
  Holding Ctrl and pressing one of the hotkeys will trigger an item or skill in a different slot. (For example, holding Ctrl and pressing 1 will activate the ability in the C1 slot.)
  Holding Alt and pressing one of the hotkeys will trigger an item or skill in a different slot. (For example, holding Alt and pressing 1 will activate the ability in the A1 slot.)
  to  Target party members 1 to 5
  Select the next closest target
  Jump/Double Jump
  Equip/Unequip weapon

UI controls

Keys Action
  Close Window
  Open Map
  Open Character window
  Open Inventory
  Open Skill Window
  Open Quest/Log/Archive window
  Open Social Window
  Open Guild Window
  +   Screenshot Mode (Hide UI)

Chat Commands

Keys Action
  +   Reply to the last person you talked to (press again to cycle through recent contacts)
  Bring up chat window/submit text in chat


Stone Dance | Aura Kingdom Database & Resource

Map Details

Stone Dance -
Type Dungeon
NPC & Objects (25) Monsters (31)
  • <Windwalker Chief> Leo Ryan X: 208, Y: 879
  • Leo's Bodyguard X: 218, Y: 882
  • Palo's Confidant X: 115, Y: 799
  • Second Prince Para Ryan X: 341, Y: 788
  • Imperial Bodyguard Shalen X: 207, Y: 869
  • Lion's Roar Advisor Baird X: 337, Y: 758
  • Noble Tatiana X: 243, Y: 330
  • Rebel Army Tiny X: 202, Y: 371
  • Tribal Warrior Kadeshar X: 488, Y: 475
  • Armor Craftsman Pascal X: 455, Y: 555
  • Weapons Craftsman Shep X: 591, Y: 462
  • Shaman Kali X: 386, Y: 472
  • Waterhole Guardian Shashek X: 565, Y: 360
  • Filthrun Croft Guardian Adonis X: 835, Y: 850
  • Lion's Roar Warlord Mummer X: 844, Y: 419
  • Vanguard Stone Guard Ike X: 886, Y: 245
  • Tatiana's Confidant X: 248, Y: 332
  • Lion's Roar Messenger X: 847, Y: 426
  • Furious Rhino X: 747, Y: 380
  • Rebel Squad Leader X: 291, Y: 308
  • Stable Wind Grass X: 612, Y: 680
  • Wind Perch Grass X: 618, Y: 359
  • Tree of the Dead X: 749, Y: 711
  • Painkiller Grass X: 763, Y: 563
  • Oracle Totem X: 812, Y: 238
  • Grassland Jerboa Lv. 51 X: 466, Y: 758
  • Windrunner Jerboa Lv. 51 X: 498, Y: 829
  • Shaggy Hoofbeast Lv. 51 X: 591, Y: 833
  • Bighorn Hoofbeast Lv. 51 X: 569, Y: 731
  • Stonescale Rhino Lv. 51 X: 185, Y: 601
  • Armored Rhino Lv. 51 X: 304, Y: 603
  • Ferocious Wolf Lv. 52 X: 179, Y: 468
  • Bloodthirsty Wolf Lv. 52 X: 179, Y: 355
  • Camp Searcher Lv. 52 X: 242, Y: 291
  • Rebel Caster Lv. 52 X: 290, Y: 316
  • Rebel Beastmaster Lv. 52 X: 156, Y: 168
  • <Rebel General> Micha Lv. 52 X: 138, Y: 259
  • Amphibious Hoofbeast Lv. 53 X: 291, Y: 490
  • Rough Hide Hoofbeast Lv. 53 X: 397, Y: 283
  • Waterhole Guard Lv. 53 X: 629, Y: 366
  • Algae Mudling Lv. 53 X: 457, Y: 357
  • Algae Waterling Lv. 53 X: 570, Y: 293
  • Rebel Fugitive Lv. 53 X: 619, Y: 236
  • Filthrun Croft Guardian Lv. 54 X: 812, Y: 822
  • Filthrun Croft Patroller Lv. 54 X: 734, Y: 780
  • Speedy Antelope Lv. 54 X: 798, Y: 654
  • Contaminated Jerboa Lv. 54 X: 776, Y: 700
  • Grassland Rhino Lv. 55 X: 780, Y: 566
  • Wild Rhino Lv. 55 X: 761, Y: 494
  • Oracle Vanguard Lv. 55 X: 757, Y: 379
  • Oracle Berserker Lv. 55 X: 766, Y: 334
  • Oracle Warlock Lv. 55 X: 789, Y: 339
  • Oracle Recruit Lv. 55 X: 833, Y: 128
  • Oracle Alchemist Lv. 55 X: 835, Y: 100
  • Oracle Sorcerer Guard Lv. 55 X: 800, Y: 231
  • <Oracle Overlord> Wesker Lv. 55 X: 772, Y: 278



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Read the book “Heavenly creatures. How to Watch and Understand Ballet» online in full📖 — Laura Jacobs — MyBook.

© L. Jacobs 2019

© Design. LLC "Publishing House AST", 2019

* * *

My sister Karin

Perhaps roses and want to grow,
and the vision intends to remain ...

9000 9000 9000


How to watch ballet? When I was writing this book, I sometimes wanted to give it a different subtitle - "How to think about ballet. " It seems to us that “looking” and “thinking” are not the same thing. But in ballet - as in any dance - what at first appears as two different types of perception, in the end begins to work as one. A look becomes a form of thinking.

We know that dancers work on their bodies and achieve exceptional coordination. But in the hall and with us the same thing happens, only we coordinate eye movements. So the dance actually unfolds both on stage and in the hall. We begin to believe in visual echoes, allusions, metaphors - fragments of what we see, images that we think everyone should see, but later, in conversation with others, we realize that only we saw them. Art always works that way. And although people often agree on what this or that gesture, step and the whole production as a whole means, there can be many interpretations. We all come to see the ballet, bringing with us our own experience and our own prism through which we perceive what we see; we add our own meanings to the dance.

Sound memory, located in the auditory cortex of the brain, endows a person with the ability to forever memorize entire songs, symphonies and scores. Vision is different. We remember what we see, at best, with separate flashes, “snapshots”. Most people can't mentally replay long sequences of dances they've seen. In addition, on a large stage it is simply impossible to catch everything that happens in its entirety. No matter how many times you watch a ballet, there will always be something new in it - something that will surprise you, enchant you, open for the first time. With the change of the ballet cast, each dancer will bring their own meanings to the ballet and emphasize different aspects of the role. Since no one can take credit for ballet, it continues to amaze.

It is thanks to this open ending that great productions always remain in the repertoire of ballet companies for new interpretations. They can be played over and over again, year after year, and each time you discover something new and deepen your understanding. Paradoxically, this cyclical rhythm and the certainty that any ballet will sooner or later return to the repertoire gives this art form a calming stability - the heart of ballet beats measuredly. Ballets can be like an airy meringue, an old friend, a vintage wine, a great love, a grand banquet, spiritual food and an unsolvable riddle. Some (everyone has their own list of such ballets) are like annoying relatives that you only meet at family gatherings: oh no, here they are again, okay, what can we do, you can find out how they are doing these days. And there are ballets, the presence of which is necessary in life. What is December without The Nutcracker? This is the same beloved and inalienable sign of December as Handel's "Messiah" and Dickens' "Christmas Carol".

When we understand the leaps and turns of our thoughts, our own reflections within the framework of one work, we begin to discover new facets in the ballet, which, it would seem, is well known to us. Great ballets reward those who watch for a long time. Like glass-bottomed boats, Proust's madeleines, C.S. Lewis's wardrobe, Bluebeard's cellar, Freud's couch, Dr. Caligari's office, Kubrick's space odysseys, and virtual reality game consoles, they'll take you where you never dreamed of being.

Ballet is energy, and energy is life. As with any unfamiliar experience, ballet can be approached with a fear of the unknown, or with an open heart and the belief that, if you look carefully, you will succeed. And it is better to choose the second way.


This book is not a textbook on the history of ballet, nor is it necessary. A lot has already been written about the history of ballet and, undoubtedly, there will be even more. However, I have organized the book chronologically, and the themes roughly correspond to the chronology of the development of the art of ballet over the past three and a half centuries. In the book, I cite fundamental works on classical dance and recent research on the subject. If I quote from the publications of any critic or ballet dancer, then I respect this specialist and recommend getting acquainted with his work. Some of the names are repeated throughout the book. I took quotes from the brilliant Theophile Gautier from his collection of reviews and articles “Romantic ballet through the eyes of Theophile Gautier” [1] (1837-1848) translated by Cyril Beaumont. Source of quotes by Akim Volynsky [2] – collection "The Magic Kingdom of Ballet", which included his brilliant treatise of 1925 "The Book of Rejoicings: ABC of Classical Dance"; this is the first collection of Volynsky's articles translated into English. The quotes from Agnes deMille are taken from her wonderful 1951 memoir "Dance to the Pied Piper" [3] . As for Cyril Beaumont and Lincoln Kirstein, I refer to many of their works. I also relied on Gail Grant's classic A Practical Dictionary of Classical Ballet [4] , quotations from which occur repeatedly in the text.

As for classical terminology, I give definitions of pas and terms where necessary and try to be as concise as possible. If I mention a movement without explanation, I do so because its meaning is clear from the context. I am sure that if something seems incomprehensible to readers, they can independently find out the meaning of the term on the Internet, in a ballet dictionary, or watch a video on YouTube. Many of the ballets I feature in this book are currently available on YouTube for free, but I didn't include specific links because what's free today could be banned by copyright law tomorrow. Finally, when I use the term en pointe, I mean fingertip dancing; when a dancer or dancer is "en pointe" it means that he or she is dancing or balancing on her toes while wearing ballet shoes.

As for the ballets mentioned in the book, I chose pieces that illustrate a particular concept in classical dance or embody an idea that I develop. I have selected ballets that are regularly included in the repertoire of most ballet companies: full-length classical ballets and shorter repertory productions that are in the program of ballet companies around the world. Talking about the history of classical ballets - La Sylphide, Giselle, Swan Lake - I do not plunge into choreographic analysis, I do not compare the changing technique and tastes of different eras. A lot has been written on this subject, and I hope that my book will inspire you to study the subject further.

Chapter 168 - Low Dimensional Game

- What happened?! Someone in the crowd gasped in horror.

All people were alarmed by the sudden shock wave and anxiety. Many of them had no idea that the king was a monster, so they were taken by surprise.

They tried to break out because the palace was in total chaos. A large number of Royal Guard troops surrounded the palace. Then thirty robed priests jumped out of the shadows to intercept them.

The Royal Guard stronghold was located in the north of the city. Peter and Hans planned to use these thirty priests and three thousand different knights to take over the Kingsguard base and destroy a thousand high class ghouls.

According to the plan, the city's defense forces will be responsible for maintaining order and eliminating low-class ghouls, while priests and knights will be in charge of the Royal Guard. Peter will personally face Adonis. However, things didn't go as planned.

Three thousand knights did not arrive in time as the Royal Guard launched a surprise attack to disturb the palace, forcing the priests to come out of hiding. High-class ghouls, armed with bloodline powers, recklessly rushed forward. Thirty priests stood before them with steel swords.

The blade plunged into the chest of one of the ghouls, but it continued to bite. With his other hand, the priest put pressure on the ghoul's head. At that moment, a white light flashed, and the ghoul's head was shattered into pieces.

When all the other priests attacked at once, a holy light swept across the battlefield and numerous ghouls were torn to pieces. An ordinary army would lose morale, but the ghouls rushed forward.

These high class ghouls had supernatural powers. Each of them possessed many talents and moved in the ranks at lightning speed. If any of the old veterans who had witnessed Leves's rebellion were there, they would immediately recognize the immense strength and eerily neat characteristic that the Owl Knights exhibited.

But today's church was different from the church of the past. All thirty priests in the Mara Kingdom had divine seeds and were equivalent to first-level wizards. All the official mages of the tower barely numbered one hundred.

But in terms of combat ability, wizards had more techniques than priests, even without geniuses like Adonis and Edward. However, in terms of development speed and numbers, wizards have never been able to match.

As the ghoul army moved up, the priests were pushed back. The ghouls ignored the white light. Armored bodies kept falling, but they continued to attack like moths attracted to flames.

After they were attacked, they immediately crawled back, especially since they would only die if their brains were destroyed. They were also relentless in their attacks, moving at a speed that the priests were not prepared to counter.

These low-level priests could only use Judgment Beam, but after repeatedly using the skill in a large area, fatigue began to show and they retreated to the castle. After many high class ghouls were killed, several Death Knights appeared dressed in pitch black armor.

These knights were even stronger, with increased speed and strength. Their movements left afterimages since they were ghouls that Adonis had modified by adding the cells of Mortus Magna. This made them superior to the rest.

The priests didn't even have a chance to use Judgment Ray when the enemies attacked them, dragging black shadows behind them as their swords pierced the chest of one of the priests.

- This is sorcery!

- Faster!

The priests immediately took countermeasures, protecting their cursed brothers and defending themselves from enemy fire. But it was useless.

The dark spot on the cursed priest's chest expanded, his entire body turned black as coal. The Death Knight cast a burning spell. From the level of mind power, it could be felt that the Death Knights continuously emitted a black mist, casting curses on their surroundings.

Six Death Knights, leading thousands of high-class ghouls, surrounded them. The original situation has changed dramatically.

Although the other side didn't have many special class ghouls, their strength was unprecedented and difficult to defend. They also had rich combat experience and increased physique.

These factors, combined with the thousands of ghouls pouring in from behind them, caused the priests great difficulty in maintaining their position. After all, the other side could only suppress them with numbers, so it was like a cat playing with a mouse.

- Oh my God! What's happening?!

— Why are the royal guards and priests killing each other??

- This is not the royal guard! They are all monsters!

The nobles inside the palace ran outside to witness this scene. All entrances and exits to the castle were blocked by the Death Knights. Over a dozen nobles were killed on the spot, the bloody scene shocked everyone.

After the townspeople ran outside, they turned around and ran back inside as a large number of Death Knights followed them. These armored monsters all showed up when they took over the palace. The rest of the nobles were locked inside like birds in a cage.

Three thousand ghouls from the church's former army started a full-scale massacre in the city. Hastily deployed detachments of the city guard met them in battle. Meanwhile, the ghouls in the sewers took advantage of this chance and attacked civilians.

The sounds of carnage, screams and fear permeated all of Babu. The blazing hell raged, and many people died at the hands of the Death Knights and mobs of low-class ghouls.

The stampede of the fleeing crowd, darkness and smoke enveloped Baba. Then came death.


Ordinary knights in the palace and priests continued to fight. Several nobles also raised their swords. As Hans tried to keep the ghouls at bay, he wondered where things had gone wrong.

“The enemy was to be cornered by my men. How did all this happen?“

But Peter knew immediately what had happened. The crux of the issue was three thousand knights.

Why were they late? Where are they? Why did the alarm go off?

— What have you done, Adonis?! Peter's gray hair stood on end like a lion's mane, and his eyes burned with rage.

Behind them, several servants of Adonis and several enraged generals were involved in the battle. Adonis and Peter had plenty of room, as the others avoided them due to the duel.

Adonis held out his hands and couldn't help laughing. - You haven't thought it through yet. Your army is mine! Ha ha ha!

Peter finally understood, grabbed his huge red robe and threw it on the floor. He stomped on the stone steps and looked at Adonis. Although he didn't say a word, his aura of rage heated the air around him.

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