<Snipped quote by Crimson Raven>
Guess you can say she's gonna give em' a helping hand.
Without a shadow of doubt
Crimson Raven
Member
*Rolls a Nat 1*
STATUS: 'tis better to have loved and lost than never to have loved at all. 4 yrs ago
- Last Seen: 4 yrs ago
- Joined: 10 yrs ago
- Posts: 5009 (1.44 / day)
- VMs: 2
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Username history
- Crimson Raven 10 yrs ago
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Danyel
Status
Recent Statuses
4 yrs ago
Current
'tis better to have loved and lost than never to have loved at all.
4 yrs ago
I say the words that I wish someone would tell me in vain hope that they might be returned to me.
2
likes
4 yrs ago
Existence continues.
4 yrs ago
So much I want to do, so little time...
1
like
4 yrs ago
“I’ve met some pricks in my time. But you, sir...” He said to the offending cactus.
7
likes
Bio
“NO ADMITTANCE.
NOT EVEN TO AUTHORISED PERSONNEL.
YOU ARE WASTING YOUR TIME HERE.
GO AWAY.”
― Douglas Adams, Mostly Harmless
NOT EVEN TO AUTHORISED PERSONNEL.
YOU ARE WASTING YOUR TIME HERE.
GO AWAY.”
― Douglas Adams, Mostly Harmless
NOTICE
Thank you for Noticing This Notice.
Your Noting it has been Noted.
And it has been Reported to the proper Authority.
Hello lurker/ My old friend/ I've come to talk to you again/ Because a shadow softly creeping/ Lurking in the chat while I was sleeping/ And the roleplay that was forming in my brain/ Still remains with the sound of lurking.
In dead roleplays I walked alone/ Narrow pathways of casual zone...
Need mor ༼ つ ◕_◕ ༽つ
(Made in collaboration with @hatakekuro)
It is known that there are an infinite number of worlds, simply because there is an infinite amount of space for them to be in. However, not every one of them is inhabited. Therefore, there must be a finite number of inhabited worlds. Any finite number divided by infinity is as near to nothing as makes no odds, so the average population of all the planets in the Universe can be said to be zero. From this it follows that the population of the whole Universe is also zero, and that any people you may meet from time to time are merely the products of a deranged imagination.
--Douglass Adams
All the world’s a stage,
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
At first, the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school.
And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow.
Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth.
And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.
The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound.
Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
And all the men and women merely players;
They have their exits and their entrances,
And one man in his time plays many parts,
His acts being seven ages.
At first, the infant,
Mewling and puking in the nurse’s arms.
Then the whining schoolboy, with his satchel
And shining morning face, creeping like snail
Unwillingly to school.
And then the lover,
Sighing like furnace, with a woeful ballad
Made to his mistress’ eyebrow.
Then a soldier,
Full of strange oaths and bearded like the pard,
Jealous in honor, sudden and quick in quarrel,
Seeking the bubble reputation
Even in the cannon’s mouth.
And then the justice,
In fair round belly with good capon lined,
With eyes severe and beard of formal cut,
Full of wise saws and modern instances;
And so he plays his part.
The sixth age shifts
Into the lean and slippered pantaloon,
With spectacles on nose and pouch on side;
His youthful hose, well saved, a world too wide
For his shrunk shank, and his big manly voice,
Turning again toward childish treble, pipes
And whistles in his sound.
Last scene of all,
That ends this strange eventful history,
Is second childishness and mere oblivion,
Sans teeth, sans eyes, sans taste, sans everything.
~~As You Like It, Shakespear
"Tomorrow, and tomorrow, and tomorrow,
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
Creeps in this petty pace from day to day,
To the last syllable of recorded time;
And all our yesterdays have lighted fools
The way to dusty death. Out, out, brief candle!
Life's but a walking shadow, a poor player,
That struts and frets his hour upon the stage,
And then is heard no more. It is a tale
Told by an idiot, full of sound and fury,
Signifying nothing."
~~ Macbeth, Shakespear
“All stories told have been told before. We tell them to ourselves, as did all men who ever were. And all men who ever will be. The only things new are the names.”
“The purpose of a storyteller is not to tell you how to think, but to give you questions to think upon.”
“What do you know?”
“Almost everything. That almost part can be a real kick in the teeth sometimes.”
“What do you want, then?”
“What I can’t have.” Wit turned to him, eyes solemn. “Same as everyone else, Kaladin Stormblessed.”
"Two blind men waited at the end of an era, contemplating beauty. They sat atop the world’s highest cliff, overlooking the land and seeing nothing.
'Can beauty be taken from a man?' the first asked the second.
'It was taken from me,' the second replied. 'For I cannot remember it.' This man was blinded in a childhood accident. 'I pray to the God Beyond each night to restore my sight, so that I can find beauty again.'
'Is beauty something one must see then?' the first asked.
'Of course. That is it’s nature. How can you appreciate a work of art without seeing it?'
'I can hear a work of music,' the first said.
'Very well, you can hear some kinds of beauty - but you cannot know full beauty without sight. You can know only a small portion of beauty.'
'A sculpture,' the first said. 'Can I not feel its curves and slopes, the touch of the chisel that transformed common rock into uncommon wonder?'
'I suppose,' said the second, 'that you can know the beauty of a sculpture.'
'And what of the beauty of food? Is it not a work of art when a chef crafts a masterpiece to delight the tastes?'
'I suppose,' said the second, 'that you can know the beauty of a chef’s art.'
'And what of the beauty of a woman,' the first said. 'Can I not know her beauty in the softness of her caress, the kindness of her voice, the keenness of her mind as she reads philosophy to me? Can I not know this beauty? Can I not know most kinds of beauty, even without seeing it?'
'Very well,' said the second. 'But what if your ears were removed, your hearing taken away? Your tongue taken out, your mouth forced shut, your sense of smell destroyed? What if your skin were burned so that you could no longer feel? What if all that remained to you was pain? You could not know beauty then. It can be taken from a man.'"
The messenger stopped, cocking his head to Shallan.
"What?" she asked.
"What think you? Can beauty be taken from a man? If he could not touch, taste, smell, hear, see, what if all he knew was pain? Has that man had beauty taken away from him?"
"I…" What did this have to do with anything? "Does the pain change day by day?"
"Let us say it does," the messenger said.
"Then beauty, to that person, would be the times when the pain lessens. Why are you telling me this story?"
The messenger smiled. "To be human is to seek beauty, Shallan. Do not despair, do not end the hunt because thorns grow in your way. Tell me, what is the most beautiful thing you can imagine?"
...
“In this,” Wit said, “as in all things, our actions give us away. If an artist creates a work of powerful beauty – using new and innovative techniques – she will be lauded as a master, and will launch a new movement in aesthetics. Yet what if another, working independently with that exact level of skill, were to make the same accomplishments the very next month? Would she find similar acclaim? No. She’d be called derivative.
“So it’s not beauty itself we admire. It’s not the force of intellect. It’s not the invention, aesthetics, or capacity itself. The greatest talent we think a man can have?” He plucked a final string. “Seems to me that it must be nothing more than novelty.”
"A blind man awaited the era of endings," Wit said, "contemplating the beauty of nature."
Silence
"That man is me," Wit noted. "I'm not physically blind, just spiritually. And that other statement was actually very clever, if you think about it."
"What is it to be witty, then?”
“To say clever things.”
“And what is cleverness?”
“I…” Why was he having this conversation? “I guess it’s the ability to say and do the right things at the right time.”
The King’s Wit cocked his head, then smiled.
“Expectation. That is the true soul of art. If you can give a man more than he expects, then he will laud you his entire life. If you can create an air of anticipation and feed it properly, you will succeed.
“Conversely, if you gain a reputation for being too good, too skilled . . . beware. The better art will be in their heads, and if you give them an ounce less than they imagined, suddenly you have failed. Suddenly you are useless. A man will find a single coin in the mud and talk about it for days, but when his inheritance comes and is accounted one percent less than he expected, then he will declare himself cheated.”
Wit shook his head, standing up and dusting off his coat. “Give me an audience who have come to be entertained, but who expect nothing special. To them, I will be a god. That is the best truth I know.”
~~ Stromlight Archive, Brandon Sanderson
"You see, whether you can draw like this or not, being able to think up this kind of design, it depends on whether or not you can say to yourself, ‘Oh, yeah, girls like this exist in real life. If you don’t spend time watching real people, you can’t do this, because you’ve never seen it. Some people spend their lives interested only in themselves. Almost all Japanese animation is produced with hardly any basis taken from observing real people, you know. It’s produced by humans who can’t stand looking at other humans. And that’s why the industry is full of otaku!"
-Hayao Miyazaki
"In culture an analogous situation leads to the emergence of enclaves shut up in ghettos, where intellectual production likewise stagnates because of inbreeding in the form of incessant repetition of the selfsame creative patterns and techniques. The internal dynamics of the ghetto may appear to be intense, but with the passage of years it becomes evident that this is only a semblance of motion, since it leads nowhere, since it neither feeds into nor is fed by the open domain of culture, since it does not generate new patterns or trends, and since finally it nurses the falsest of notions about itself, for lack of any honest evaluation of its activities from outside."
~Stanislaw Lem, author of Solaris
Some heartfelt music while you lurk
Or U liSTEN TO tem MOOSIC!
I just don't want you to have a Bad Time...
What do I live for?
"I think I've seen this movie before." -@Guess Who
I LOVE TVTROPES!
Most Recent Posts
Without a shadow of doubt
@Crimson Raven Ah. Have you decided which guild your character is going to join? You still have a ? there and I need it to properly categorize Alexandria's opinion.
Yeah, she’ll join Golem’s Hand
Mainly because there are fewer players there :}
@Crimson Raven, he's going to flirt with her, regardless of the threats :P
I know
Its going to be entertaining
@Crimson Raven Alexandria is in Harpy's Wing. Not Golem's Hand.
Edit: Oh wait I read that wrong or something. My bad. I thought they were reversed or something.
I got bored so I wrote up Kage’s relationships.
Its subject to change, based on how others react to her. And possibly what guild she joins, although its looking like Golem’s Hand
Its subject to change, based on how others react to her. And possibly what guild she joins, although its looking like Golem’s Hand
I haven’t forgotten lol
I should have been more detailed, sorry.
1. Erebus’ Shadow - lets make this one linked to her shadow (so she can only make one, and it cannot move far from her) Size, I’d say it varies with light, anywhere from twice the height of a person and about as big around as one, to four times that. It has very limited intelligence, but she can give it orders. However it’s difficult to control and requires constant attention to maintain, so no or few little puppets while it is active and she is limited to less powerful or complex spells. It will last about five minutes, and takes that long before she can use it again. Ten minutes if it gets destroyed somehow. As for durability, it can take most hits well, but a powerful spell will one hit KO.
Edit: No, wait, lets nix the time limit. That makes it impractical. It just requires a flow of magic to sustain
What this will do, is it turns it into a defensive spell, the serpent can protect her by interposing itself between attacks and her body, cover her back, while being able to strike out at opponents with a bite attack.
2. I imagined FD like Jose’s Dead Wave, except for her it’s obviously not as powerful, and it has her own spin on it. Notability, it would require two hands and longer to cast.
With this spell, the cost is two-fold, one she has to create Shadow Puppets to use, then two she has to use more magic to gather them into the attack.
Erebus’ Shadow - A stronger Puppet that usually takes the form of a massive serpent. A resilient and dangerous foe.
- Shadow Puppets is fine, but this one needs to be better defined. How big? How long does it last? Is it linked to her in any way?
- For Fulminating Darkness, do the puppets do the casting, or does she turn them into shadow to attack with? Where does the magic come from?
I should have been more detailed, sorry.
1. Erebus’ Shadow - lets make this one linked to her shadow (so she can only make one, and it cannot move far from her) Size, I’d say it varies with light, anywhere from twice the height of a person and about as big around as one, to four times that. It has very limited intelligence, but she can give it orders. However it’s difficult to control and requires constant attention to maintain, so no or few little puppets while it is active and she is limited to less powerful or complex spells. It will last about five minutes, and takes that long before she can use it again. Ten minutes if it gets destroyed somehow. As for durability, it can take most hits well, but a powerful spell will one hit KO.
Edit: No, wait, lets nix the time limit. That makes it impractical. It just requires a flow of magic to sustain
What this will do, is it turns it into a defensive spell, the serpent can protect her by interposing itself between attacks and her body, cover her back, while being able to strike out at opponents with a bite attack.
2. I imagined FD like Jose’s Dead Wave, except for her it’s obviously not as powerful, and it has her own spin on it. Notability, it would require two hands and longer to cast.
With this spell, the cost is two-fold, one she has to create Shadow Puppets to use, then two she has to use more magic to gather them into the attack.
<Snipped quote by Sho Minazuki>
This could work with some deep restructuring, but the issue is that Lilith isn't bound by natural sources of light, since she can simply create her own dark spaces to fight in where she fights at 100% efficiency all the time anyway; anyone without a ready source of light goes back to having no chance of winning in a fight.
Time limits, form transformation effects, and in-form weaknesses are the only real ways to go towards making it balanced.
I see your point.
Time limit is easy, and someting I thought of but forgot to mention (and I see where my wording is misleading) She can’t stay insubstantial for more than a few seconds at a time after that, she becomes vulnerable, so continuous attacks (like say, a sword in her, or a drawn out blast) will eventually harm her, and can be fatal if she is forced to reform on them. (Ouch)
Following that train of thought, I can make it so once a part of her turns into shadow, that past is unable to do so again for 3-4 seconds (longer maybe?). A clever opponent might see this and take advantage, or a fast opponent might accidentally find this.
Another thing is that turning into shadow takes a modest amount of magic, which over time will really stack up, meaning that if she takes too many attacks, that alone could leave her nearly drained. Notice that without her magic, she is not that dangerous.
This is an inherent flaw, as any fight she might have would require her to burn through massive amouts of magic quickly. I don’t have any specific numbers in mind, but you can be sure that this will be reflected in how I write her.
What if sources of light affected it's effectiveness?
For example in a dark room, it's 100% effective, but anywhere out in broad daylight or even under moon or heavy starlight is enough to interfere (max 40% full moon, max 20% starlight on new moon), for example. With it virtually impossible under high noon directly below the sun or source of light.
This way he'll be able to use it, but he can't avoid everything completely without moving in normal circumstances.
If it needs more weaknesses, probably limit what he can do while phasing and choose between recovery time (delay after exiting the form) or startup time (delay before entering form).
Sure, I like that idea. A scaling curve.
@Lord Sawsaw2 what do you think?
((What's the limit to this? What happens to the items if you don't have a shadow?)
A fair question
I imagine that the upper limit might be about the size of a medium sized person with a large pack. She might be able to fit a larger object, if the object in question is a solid piece.
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