Name: William Shakespeare
• Age: 33
• Gender: Male
• Appearance:

• Method of Travel: The original model of Davinci's helicopter like object that has been enchanted by Shakespeare's ability, causing it to become a peerless flying artifact easily capable of maneuvering with jet planes and performing a reduced earth dimensional leap to reach locations with haste when significant and lengthy preparations have been taken.
• Powers:
Territory Creation
Shakespeare is capable of creating a study for his works which is akin to the workshop of a mage in the Nasuverse. Basically, making a study allows Shakespeare to designate a large house sized area around him as his own "territory" within which he can freely draw from environmental resources both physical and magical with ease.

Enchant
Arguably Shakespeare's most powerful skill, Enchant allows Shakespeare to imbue objects with supernatural concepts and heavily enhance their current abilities. In essence, it allows Shakespeare, at its basic level of enchantment, to nearly maximize the conceptual goals of an object or even a person. So if Shakespeare enchants a knife, an object that is meant to slice and cut, the knife will become exceptional at slicing and cutting to the point where it can easily outmatch a superbly forged knife of diamond. If Shakespeare enchants a man that is driven towards heroism, then the man will receive the necessary physical and mental fortuity to accomplish his lofty ideals. In addition, Shakespeare can even add conceptual effects towards objects, but this additional ability cannot be performed upon humans. This ability to add concepts however is completely reliant on the history of the object itself. For example, continuing on the prior portrayal of the knife, assuming the knife was a ritual sacrifice knife of the Aztecs just recently uncovered, Shakespeare's enchantments goes leaps and bounds beyond what an enchantment upon a regular kitchen knife would perform. On top of becoming exceedingly sharp and durable, the knife will perhaps attain the ability to call upon divine favor in the presence of blood or perhaps attain the capacity to perform a technique whereupon the knife instantly gouges out a heart. However, an object with no history such as a modern kitchen knife would have nothing for Shakespeare to exaggerate and therefore nothing to enchant. Enchanted objects remain enchanted as long as Shakespeare stays alive, and Shakespeare himself will know the location of every item he has enchanted.

Self - Preservation
A supernatural ability that Shakespeare possessed in the Great Holy Grail War. It forces Shakespeare to never physically confront anyone in direct combat. However, as long as he maintains his uselessness in terms of combat, Shakespeare will become almost unnoticeable to anyone with hostile intent. It essentially bends reality and causes Shakespeare to appear utterly innocuous to those that would wish him ill, removing any traces of threats or physical trails left behind by Shakespeare. Of course, this ability is not foolproof and does not render Shakespeare immune to damage from wide area of effect attacks or indirect attacks. However, if Shakespeare designates someone to be a "main character" in his grand story, then this ability becomes significantly enhanced to the point where Shakespeare will appear completely invisible to those wishing him harm as long as Shakespeare himself and the person he deems to be the "main character" observe no hostility. However if the "main character" exudes any hostile intent or performs aggressive actions, Shakespeare loses this ability for several hours.

First Folio: When the Curtains Rise, the Applause Shall Be As Ten Thousand Thunders

This ability is Shakespeare's trump card and his trademark power. It allows Shakespeare to manifest the copy of the work he was never able to finish in life, in essence a blank slate upon which a tragedy may be written. The work appears to be a majestic tome emanating a brilliant lavender hue from its numerous pages, and is in all aspects a magical artifact of the highest tier. The primary effect of First Folio is to "show a story" to someone by "setting a stage" where he will recreate places, events, and people from that person's life. The ability is severely limited in scope, and has narrow usage. Shakespeare cannot actually fully recreate the events or people from another person's life, only being able to create mere facsimiles. Shakespeare can instantly recreate certain objects from his own theater and then exaggerate their purpose to fulfill the needs of this ability. In essence, Shakespeare sets up a grand play of reality itself. He can bring forth various wooden dummies that were used as props in his theater and then utilize First Folio to transform them into living people, objects or beings. Of course, these props will always remain props in terms of power and thus have zero combat capacity, being wooden dummies with illusory appearances. However, one cannot distinguish whether the prop is actually living or not when it is transformed, and thus this ability can be called an illusion of the highest rank. The ability is incredibly versatile in scope, as Shakespeare can even change his surroundings as he would the backdrop of his theater stage, or perhaps "lower the curtains" and drench everything around him in darkness.

This ability however is limited towards affecting one person only. It has the bonus passive power to record the history of a designated individual so that Shakespeare may "write his story" in greater detail. Once Shakespeare has designated a person to be the subject of the First Folio, Shakespeare may only manifest people, objects, or events from that single persons life. Switching targets causes the "play" to end, removing any and all illusions from reality. All replicated beings also follow a script that Shakespeare designates, causing them to be much like robotic beings that act in specific manners regarding their script, but will remain highly realistic as long as they act within the bounds of the scrip that Shakespeare writes for them. So if Shakespeare writes "operate as a foul tongued heathen" then whatever character he chooses to manifest must operate on such a basis, and will do so with superb realism. However causing the character to be forced to act contrary to the scrip will cause them to become awkward machine like figures easily perceivable as fakes.

First Folio causes a pittance of magical energy, and the "story" can last a whole day should Shakespeare maintain it. However, Shakespeare cannot utilize this at an absurd amount of range and is limited to an approximate radial distance of around 300 meters. First Folio does not count as an offensive action and will not remove the stealth bonuses from Self Preservation. Should Shakespeare receive a vast amount of magical energy, he may be able to actually manifest characters in their entirety with their powers and original mindsets intact.

• Personality:
Shakespeare is gentlemanly and soft-spoken. He considers the "story" as important above all else and will work relentlessly such that he may witness the grandest of stories around him. To him, the "story" is the world itself and its experiences, and as such Shakespeare views his life and the lives around him as mere words written upon the pages of the world. Of course, no man as great as Shakespeare would deign to desire a shabby story, and as such the ever prolific Shakespeare desires to create a magnificent story of life, which, considering his writing proclivities, likely ends in tragedy. As a result of this obsession with the story of the world and life, Shakespeare views himself as an "Author" and views all others as participants of the story of the world. His perspective is much like that of a third person narrator, and he is keen to observe and remark upon others. He judges the worth of other human beings solely on their ability to contribute to his "story". People he considers to be "main characters" will garner significant attention, while droll people such as those merely filling in the backdrop of the marvelous story like ordinary citizens of some random city are considered merely props for the setting and as such are considered with disregard by Shakespeare.

Shakespeare loves written works of all kinds, and holds a high affinity for intellectual pursuits. He is a man of the times, and will adapt to the environment around him out of a need to understand the story around him. He is rather dramatic, and bombastic in terms of mannerisms and yet still maintains a rather graceful eloquence. He holds significant pride for himself, and often quotes his own works and expects that all around him have read his works also. However, Shakespeare is also a master of artifice. He is willing to utilize deception, manipulation, and any other wrongful means in order to generate the most marvelous of stories. Since his concept of a grand story is that of an elegant tragedy, it is fair to state that those associated with him will not fare well.

• Starting World: Nasuverse
• Backstory:
Shakespeare was summoned into the Great Holy Grail War wherein fourteen servants, beings of myth and history, were reincarnated into a battle where two sets of seven servants fought for the Holy Grail, a mystical artifact said to be capable of granting any wish. Shakespeare was sided with the "Red" faction, opposed against the "Black faction". Those that summoned servants were mages titled "masters" and Shakespeare's master in this war was Shirou Kotomine, a mythical character himself from a rebellion hundreds of years ago in Japan that somehow managed to stay alive to this day. Shirou desired an idealistic world where suffering caused by the ills of human nature were erased, and thus sought the grail for this means. Shakespeare recognized the potential of Shirou as a brilliant main character, and consequently supported his actions. In the end, Shirou managed to reach the grail but was halted at the final moment, rendered unable to enact his wish while no opposing party was capable of snatching away this wish from Shirou. Shakespeare, who had managed to survive until this point, became incensed that the grand story he had seen play out had been ruined with nary a chance of even tragedy, took it upon himself to manifest his own wish.

He wished to be propelled into a land of the greatest pomp and circumstance where he would be able to experience the richest of all stories befit for his stature. A tear in dimensions opened in front of Shakespeare from the massive amount of energy the grail possessed to enact this wish, and without a second thought, Shakespeare stepped through this tear to embrace his story. The grail granted him a physical body much like that of a humans, and in addition granted Shakespeare slightly altered and enhanced abilities so that he would be able to hold his own without a master to activate his abilities.

Edward Evans has been infected with the OMAC virus, a form of highly advanced nanotechnology hailing from New Earth. When activated, Evans' body is encased in a cybernetic shell which provides enhanced strength and durability. There are also a number of other features, detailed below. However, due to the virus sample sustaining damage while travelling across the multiverse, some of them do not function properly, or at all.

Life Support: While in his OMAC form, Eddy can survive in a vacuum or similar environment without difficulty, due to the 'suit' keeping him pressurized and recycling the oxygen in his bloodstream. It can also provide nutrients and hydration, allowing Eddy to go without food as long as he wants. He still prefers to eat and drink, however, as old habits die hard.

Metahuman Database: Normally, as an OMAC, Evans would be able to access an archive containing in-depth information on nearly every metahuman known to exist in New Earth's reality. However, the data has been corrupted, preventing Evans from utilizing it.

Power Simulation: In addition to their inherent capabilities, an OMAC unit can simulate other metahuman abilities to gain an edge in combat. Unfortunately, Evans' capacity to do this is limited, as a result of the virus sample being damaged. Thus, he has merely retained the ability to project various substances from his hands and 'eye.' Specifically, he can project beams of thermal energy, fire-retardant foam, and needles of artificial cellulose.

Nano-morph: Evans' suit can manipulate the shape of its hands, allowing his hands to change into crab-like pincers, or simply enlarge them to enhance the force of his punches.

Weaknesses: Evans' OMAC form can be disabled with a sufficiently powerful EMP, preventing him from transforming until repaired. In addition, Evans is otherwise a completely mundane human with practically nonexistent combat experience, making him an easy target when untransformed. It should also be noted that if Brother Eye were to establish contact with Evans, it is likely the AI would try to gain control over the rogue OMAC.