The good news is--I am just about done with this process's first stage.
The bad news is, I've got a ton of stuff which I classified as either
-Being kept around because there was some detail different,
-Is pertinent to current things,
-Was explicitly never blogged about,
-Or--and this is the biggie--I have no memory of whether I have blogged about it or not.
If I removed that last one I'd have a good 70% less papers in the gigantic stack I have.
This has allowed me to more or less focus.
I have the recent content I haven't blogged about. The perfect RPG content (times two), the new webcomic, more about the impaler stance, and of course, the focus of why I did this, Phyrra and Cyrus notes.
I also have peripheral easy access to what I believe is the entirety of the relatively-recently-written notes on a story idea I meant to unload the details of in a gigantic ramble yet never got around to, the story which started as a Bleach knockoff but evolved to be something that is my own.
So...more or less, the question becomes...what can I blog about today, and what can I not blog about today?
I'll not be doing the gigantic ramble on the Bleach knockoff story idea yet (that one deserves a special ramble of its own), but I should be able to do the others...once I finish with the organizing of my papers. For a frame of reference, I'm pretty sure that I started dumping stuff in this area during NaNoWriMo of 2016. I am up to...well, a little past this point of last year, 3/26/2017.
Hmm...I suppose I'll start with the Rubyverse bit, about the impaler stance's vampiric martial art. What wasn't new was that there were two guards: knife guard (knife hand block is a common enough thing that I don't need to describe what it is; this is basically that), and claw guard (same basic positioning, but with fingers apart and curved).
What I developed which is new as of...well, about a week ago...is what I dubbed the tri-guard: open hand, elbows pointing up, towards target (with palm close to body). (Note that the front hand and back hand can take different guards, but are most frequently seen using the same guard.)
In normal circumstances, this would be a hilariously bad idea, because it exposes the ribcage to attack. However, I played around with the position, and found that with sharp, crisp enough techniques that are well-placed and timed, this wasn't actually an issue and was a potential asset.
In particular, the elbow up is great for up/upward outward blocks, the hand can sweep downward to do a downward block fairly easily...for either side. As in, with the right elbow pointing up, the right hand can block downward and have the deflected attack go to the right, OR go the other way and have it deflected to the left (more as a push than a sweep).
Other than the elbow itself, there isn't really much of an inward block, though the elbow itself acts as a pretty effective, close-range defense. And for an outward block, the same motion which applies for the downward block can be used. The whole thing is fairly fluid and effortless when I try it, and it pairs nicely with a particular strike pattern.
The idea behind the tri-guard is to use the triceps to snap a strike outward, where you basically just go from a bent elbow to a straight elbow. This is loosely akin to a very close-quarter jab; it isn't meant to have much power, but it's fast, allows you to grab your opponent, and sets up for the followthrough.
This followthrough has a working name of the Typhoon Strike, which is more akin to a cross: with the front hand fully extended, twist hand and reverse it around (the idea being you are grabbing onto them, drawing them in, and knocking them off-balance), and simultaneously the back hand does the inverse motion, rotating out to deliver a powerful strike. By reversing the process, this can then be combo'd, where the back-currently-in-front hand grabs and pulls, and the front-currently-in-back hand snaps from its rear position back into the position it started in.
I'm probably not describing it fairly well, but the body mechanics of it when I tried it out were at least in theory fairly sound. This stance also allows me to play more heavily around with the more crane stance aspects that I was inspired by originally, in that the triguard is built to allow for low/high blocks with a much, much greater ease than the knife/claw guards do.
Next on the list, and probably a disappointment because I've been building it up for so long as some amazing thing, is the new webcomic idea I had, called Average Joe's Bar.
The idea behind it?
Basically every being from every mythology gather in a bar to just hang out. Many of these beings even have multiple forms. For instance, capital-G God has no less than four: Big G (stereotypical old man with a beard), Momma G (an elderly plump black woman), Lil' G (a Bishonen anime boy), and Girly G (just a small girl). All angels have one for each gender (Lucy/Lucifer, Gabrielle/Gabriel, Michelle/Michael, etc.), and so on and so forth.
You have patrons like Lucifer/Satan I (Satan, in this case, being a title), God, various demons e.g. Beelzebub, The Devil/Satan II, Zeus and other Greek/Roman gods, Thor and other Norse gods, Ra and other Egyptian gods, Titans, (Demi)humans ranging from Jesus, Buddha, Hercules, Achilles, Theseus, Perseus, Moses, Noah, and the like. Basically, figures who are involved in the divine.
All of them more or less having the powers they are meant to have (or lack thereof).
...And they all meet in the titular bar, run by...
...Joe, a completely and totally, 100% ordinary human, who in theory could have regular human patrons. It's just that by some cosmic coincidence, everyone who is a patron at his bar just so happens to not be a normal human being. (He does, however, have the ability to serve godly drinks, e.g. ambrosia.)
It was envisioned as a slice-of-life story, where gods would get into antics, more or less, and crazy stuff would happen, but more or less that in spite of their drunken stupor, the gods would more or less always walk out with nothing having changed. Basically, just a setting to have fun in.
Of course, because I'd actually have to research everything I put in, and because I utterly suck at slice of life comics, it'd never come to be, even if I could pull off the art style. (I had a more chibi-like art look planned for all of these various numerous mythological figures, as to best emphasize the comedy.)
There may be more to it than that (for instance there might be a third Satan with The Devil being either Satan III and coming later or Satan II coming before, don't quite remember), but I think I hit all the important notes.
Two down, two very long ones to go.
I'll start with the Perfect RPG. It's something I've worked less on because my inspiration has been far more focused on Phyrra and Cyrus as of late, but I've still done some work there. I worked out the beastmaster's name (you remember that she was the one to romance the dark archer, right?), and settled on Erin. This marks her as the first character I've actually named!
I also figured out an aspect of the Dark Archer's personality--in most situations, he will talk in a slightly antiquated, eloquent, verbosity-laden way, where he more or less is formal. However, whenever he is stress out, he will slip into more casual speech. Said stress is, mind you, what stresses him out. For instance, because he loves battle, even if his life is in danger he'll still be talking formally because to him that's not stressful.
However, try and get him to express emotions......
...This can be seen when the romance begins.
The following dialog is the precursor to before you can select something, to give an example:
Dark Archer: My good friend, I come to you seeking advice.
Protagonist: Sure, what are you after?
Dark Archer: I have grown rather fond of Erin over our time together, and I wish to formally initiate courtship. However, I am uncertain as to how this should be achieved.
This is when the dialog box comes up.
I also worked out a working draft for what the dialog is for choosing the hilariously stupid option of "Present Boar's Head as Proof of Manhood". Said dialog might change, but I more or less thought it'd go something like this (I wanted to show you this as a comic, but oh well):
Protagonist: I dunno, man...give her something?
Dark Archer: To what thing would you suggest?
Protagonist: Something with a personal touch would probably show sincerity!
Dark Archer: That is not a bad idea! I know just the thing......
[Fadeout to black; scene transition]
Dark Archer: Hey, Erin, look at this!
Erin: A- A...
Protagonist: She...she fainted!
Dark Archer: Ohcrapohcrapohcrap......
Protagonist: What do we do? Whatdowedo?
Dark Archer: I dunno, this was YOUR idea!
Protagonist: Uh...uh...let's go check her out!
Dark Archer: Check her o...DUDE SHE'S UNCONSCIOUS!
Protagonist: Yeah, that's why we need to!
Dark Archer: What the hell, man?!? I want to date her, not...
Protagonist: I MEAN CHECK UP ON HER!
Dark Archer: Oh.
Dark Archer: Uh...
Dark Archer: ...That sounds like a good idea.
[Fadeout to black]
Protagonist: Just a small bump to the head; she'll be fine once she wakes up.
Protagonist: Wonder what caused her to react that way?
Dark Archer: ...You think she liked it?
[Scene fades out]
As a reminder. Erin is an all-loving hero who absolutely adores animals. The two guys, during this route, are utterly clueless; Protagonist genuinely doesn't know why she reacted that way and the Dark Archer is genuinely hopeful that she liked it.
It still makes me laugh to this very day thinking about the scene. As in, I literally just laughed myself to tears by typing it out and thinking about it. If you're not reacting much the same way, that means I need to better demonstrate things, be it on a different medium or with better descriptors of their characters or just a rewrite of the dialog, but then again. This is MY perfect RPG, so I suppose it making me laugh is good enough.
The other thing I worked on for the perfect RPG was more or less making the first steps towards defining the relationship between the Future/Present/Past and differences in things sold.
For a start--it's (almost) impossible to make a profit off of buying things cheap in one area and selling them in a different area. With specific exceptions (said exceptions being tied to repeatable quests meant to level up the Merchant job), all goods are sold at a set price.
Goods are bought at varying prices so you can get things where the buy/sell ratio is 1:1 (as in, you can sell it for just as much as you can buy it), but also in places where the buy/sell ratio is potentially 1,000:1 (as in, you get 1/1000th of the item's cost to buy when you sell it).
The game does have a rudimentary supply/demand function, mostly tied to the repeatable quests to level up the merchant job, but still existing even outside of that. There are two basic variables at play:
"We have plenty of this good"/"We have very few to none of this good", and
"This good is something we can sell"/"This good is something which we'll never sell".
There is an in-between state for both, "We have some of this good"; "this good will sell a little bit".
And selling prices are thus set at select prices off of those criteria. None of this good + we can sell = maximum profit; Plenty of this good + something never selling = least profit; there are seven intermediary states (for nine total) of good prices.
Again, outside of specific circumstances, it's never possible to make a profit buying one place and selling another, but it's possible to get a 1:1 ratio between the two.
That having been said.
I didn't quite get to work out the details, but I wanted to work out that there are different mechanics in play between the Future, Present, and Past when it comes to
-Buying Items (Cost/Variety/Grade)
-Buying Gear (Cost/Variety/Grade/Number of Slots)
-Upgrading Gear (Cost/Grade/Number of Slots)
-Enchanting Gear (Cost/Variety/Grade/Number of Enchantments)
As an example I came up with, in the Future, it'd be possible to buy products that are mass-produced and thus have a high number of slots, but come at a lower grade. Variety would be increased, but so too would cost.
I didn't get to detail the mechanics there, but I got a start on them, the idea being that the economics of the three times are not interchangeable, but still follow a general mold such that you, as Walkers, have a fairly decent progression in the quality of your gear as the game advances which is supported by the storyline.
And now we get to the main project.
I suppose I'll start with the heroes.
I had a bit of a concern when I was going over the story in my head.
The Thaukama has 13 total members to it across the whole story. But of them, only about half of that are given the level of character depth over the course of the series that I would prefer them to have.
Phyrra and Cyrus, being the titular characters, aren't a concern. Gora, the only Guardian for the first half of the first season, is obviously not a concern because he travels with the Thaukama from the very beginning and is from the onset the closest to the siblings, so he's not a concern.
Ace, as the first human to join the Thaukama which he does fairly early on (we're talking, like, first six episodes or so), is not a concern of mine when it comes to depth. We have plenty of opportunities for him to show off his heroic badassery every step of the way.
Cedrick, given how he is introduced and how long he takes to formally join the Thaukama, is not much of a concern of mine. He is introduced before episode ten (when, exactly, hard to say) and remains a rival/antagonist until the shipwreck (his official joining point), so he has a fair amount of character focus during half the series. While he does lose some limelight after that coming into season two, he remains as one of the core fighters of the Thaukama. I'm not too concerned about him.
Kaze is not a concern, though mainly because he is deliberately designed to be the Guardian with the least amount of depth to him. This is an intentional design choice for him, to make there not be much about his character, though even given that, he has opportunities where he gets to show his character off to others.
Bard is a bit of a concern, though--during his introductory arc, he has a ton of focus. Like, he has a great deal of depth added to him during the period of those 6-8 episodes. But after that, I'm a bit concerned I don't have enough planned for him when it comes to the Thaukama's team dynamic more or less. How he interacts with others. He DOES get some focus in the latter half of the second season, though, so I'm not concerned about him that much.
Lily is not a concern of mine, because she is a co-holder for team mom with Myra, in addition to her interactions with Hera and generally her usefulness to the team, between her shops in various cities and her life experience and what she can do. She's also mostly a noncombatant in spite of being an incredibly competent fighter when she does fight, so that gives me some freedom to let her do things aside from fight.
However, there's three human members of the Thaukama and a whole Guardian (one of the core entities to the series) that I am a little bit concerned about when it comes to chances to really show them off as characters, to give them depth, personality, screen time, and levels of individuality such that you get to see them as people rather than just plot devices used to further the story.
I am deeply concerned and even troubled by the fact that Myra is someone I don't have a lot of material for. Even Kaze, the homicidal maniac, has more planned than she does. I know she is a people eater, along-side Hera. I know she is the team mom, and shares this role with Lily. But in spite of her holding the status OF team mom...I don't really have her doing much in the way of motherly things for the majority of the story, and that's an issue.
Plus, aside from that, she's the only Guardian I don't really have much in the way of battles planned. Admittedly, I don't have many for Kaze, either, and I can only think of one (really, really awesome) battle for Hera, butstill, Myra is introduced in episode 14, or thereabouts. She's with the Thaukama for 3/4ths of the series, more or less. She should have a notable impact, which I am still working on giving her.
I do have a little bit of depth planned for Will, in that his services as the son of nobles help the Thaukama out and he is the one who helps provide them with rides, but I don't have much in the way of plans for him...until the second half of the second season. This is a bit of a concern of mine, since unlike the others he doesn't have as much screen time. I do think I need to do more with him.
Alena I also am deeply concerned with--as the last member of the Thaukama introduced at a set point, I have only ten episodes to show her off and make her be seen as a deep, important character. She has a very heavy focus, but I'm not sure it's enough. I did develop a bit of a patch for this, though--I am giving her a cameo during a time contemporary to Cyrus's "are you going to have lesbisex?" line. Her introduction proper wouldn't be until later, but even this little bit would help to establish her in advance.
However, the largest concern of mine is Clara. Other than her introduction, I have...basically nothing on her. I still have basically nothing on her, but I did manage to figure out some ways to help. One way I am helping out is by introducing her earlier--she'll be in the shipwreck, and is introduced on the mainland, returning from a pilgrimage there to head back to the new world, where she does most of her adventuring.
She would be traveling with her master, and the shipwreck actually serves as a convenient method of separating her from him...allowing her to become a member of the Thaukama far more believably, and also helping to explain why she doesn't have her master with her (an issue I had before--basically, the idea was to introduce her without her master but I was having trouble with how that'd work and once her master was in the picture how it'd make sense for her to travel with the Thaukama; now I have a way of doing that).
The main thing I did to flesh her out was to develop Paladins. (Disclaimer: I want to research Paladins in D&D to see what they can do. I want to cover most "traditional" Paladin abilities, more or less, which can be justified as being based on Sun Magic. So, no, no Anti-Fear-Aura, but yes, Lay-On-Hands. See below.)
Specifically, I developed Paladins such that Paladins are subdivided into two types, depending on what they are aiming to specialize in (because, remember--they use specialized magic; they can't learn everything without becoming full mages which takes half a human lifetime).
Solarii (what Clara is in training to become) are spellbladers, who make use primarily of two main spells. Clara's lantern-spell and engulf-weapon-in-light spells are the two preliminary versions of the spells Sun Scorch and Fire Hammer (respectively).
...Yes, those names should seem oddly familiar, but I thought it appropriate. Sun Scorch, the evolution of the lantern-hand, is basically an explosion of pure sun energy, radiating out from the caster to obliterate all opponents, cast either through the hands or through a weapon.
Fire Hammer, the evolution of the engulf-weapon-in-light spell, is to create an entire weapon out of pure sun energy, controlled through heliokinesis. This heliokinetic weapon is usually utilized to rotate around the caster to attack enemies on all sides, since with every strike, a miniature sun explosion is unleashed. (This type of 'weapon rotating around the caster' spell is common enough that I think the effect comes across.) Alternatively, the concussive/explosive force generated when the weapon is 'thrown' forward can devastate a single target in front of the caster. (This is from the source material where the name originates from, but can also be thought of from another source...)
There is also a mundane application. The weapon might be made out of pure sun energy, but is still solidified--it can be grabbed. Because it is controlled by the heliokinesis of the caster, it can go however the user wills it to. When you combine these properties, what you have is that when the user grabs onto the weapon, they can, functionally, fly.
In short, this is an ability you can think of as basically being Thor wielding Mjolnir, except instead of being lightning-oriented, it is oriented around the sun. Otherwise the effects are much as you'd expect them to be, launched and returned at will, the staple attack of a Solarii. (Because Sun Scorch tends to, with repeated casting, exhaust the user, whereas Fire Hammer is cast only once and thus the only drain involved is the heliokinesis which relatively speaking is basically nothing to a trained paladin.)
They may have other spells, but these two are their signature moves, which are what make them be Solarii. They are incredibly potent, powerful abilities, difficult to master, and yet incredibly awesome once they are. Solarii paladins are generally what the masses think of as "adventuring paladins", because they have a skillset best suited for that profession--martial moves that are combat-oriented, albeit having pragmatic use outside of combat (e.g. smithing).
Paeans are the other half of paladins, thought more of as the "healing paladins". They do have combat-oriented skills, revolving around ranged weaponry (typically missile weapons in the form of bows or the occasional crossbow), but most of what they focus on is healing/buffing based around photosynthesis. That being, they use the energy of the sun to propagate life, mending wounds at an accelerated rate and the like.
I don't have their spells detailed as well as I do Solarii spells, admittedly, but that gives you a general framework for what they do. They are more passive, but just as important.
There are some spells common to both types of paladins--the main one, Shield of Light, is exactly what it sounds like, though the form of the spell differs. For Solarii, the shield of light is a spherical barrier encompassing an area (based more around the sun scorch), usually surrounding an ally, which can be condensed (based more around the fire hammer) to form...a rather literal shield, often directly in front of the target to stop an incoming powerful attack.
For Paeans, the shield of light is a barrier encompassing an area, usually surrounding an ally, which can be condensed to form an aura surrounding the target. You know how in sci-fi a semi-common piece of tech is a personal forcefield? Sometimes so personalized that when you see the outline of it it is literally just inches above the skin and form-fitted to the body? The uncondensed is the former; the condensed is the latter.
Both techniques might have a different basis based around the particular magic unlocked in the individual to use (because, again, this is specialized magic which must be taught from an early age and which only is partially unlocking magical potential such that the caster can do a very specific set of things and nothing else), but they result in an identical effect, thus the shared name.
That's what I have for heroes.
Now let's move on to the villains!
Back a few days ago, I managed to give them some names. The first big bad, Sloan Patrick Breaker, received the equipment which made him a threat from the third big bad. When defeated, he contacts said big bad and informs him, "The ones who defeated me are the ones you were hoping to surface. Their names are Phyrra and Cyrus."
His evil schemes are fairly small compared to others. I don't have the specifics laid out yet, though.
The second big bad, Gunther King Slayer (for the record, he is the son of two villains so that name is not what you'd call incidental), received the ability he needed for his scheme from the third big bad. When defeated, he contacts said big bad and informs him, "Phyrra and Cyrus are on their way to the New World, and if they survive the trip...they will be fully awakened."
The third big bad, Archer Cross Hill, more or less is after Phyrra and Cyrus's powers for himself.
All of those big bads, because they are tied together, have a particular theme to their names--it's ridiculously subtle though, so mad props if you can navigate my mind to the extent where you are able to pick out the common thread to all three names. (Even better would be if you discover a common trend to their three names that I hadn't intended because that'd mean there was more than just the original one!)
The fourth big bad, deliberately meant to break the trend, is named Muse Gerald Icarious. Which, in of itself, has a not-so-subtle meaning to it along similar veins to the other names. (You might note that not many of the names in Phyrra and Cyrus are particularly clever; all of them more or less are some reflection of something.)
The third big bad, Archer Cross Hill, stole some research from Muse Gerald Icarious in order to enact his final scheme (which failed, obviously), but the final big bad being the final big bad gets to use the research in its full unadulterated form. Said research being...
The Six Sins.
"Six?!? What happened to seven?!?"
Not just kidding!
You heard it right.
The Six Sins are summoned spirits, directly akin to the four Guardians in function--they are cursed spirits, who reveled in their particular sin until they were forced to never embody their desire. They can never truly die; whenever they are 'killed', it simply means that they cannot be re-summoned for a minimum of 200 years. (There is of course no maximum so they could theoretically go all of eternity unsummoned, but if killed then they can't be summoned again for 200 years.)
And, yes, they are a bundled package. You summon them all together, and then are the master of all six until all six are released from the bond.
So the basic reasoning behind this is...the six sins were once human. (Which differentiates them from the Guardians, who explicitly never have been human, though did once exist without being tied to the books.) When they were caught for their crimes, they were cursed to serve a barbarian sorcerer-warlord, who made it sure that the owner of the seventh sin (pride) controlled them...starting, of course, with him. (This being eons ago in the story, his name has been lost to the history books.)
That is why there are only six of them. Because the seventh sinner is their master, the human who summons them, who must embody both pride, and yet also humbleness. They must have the ambition and drive to have grandiose goals and essentially a grandeur of godhood mindset, to have the knowledge that they can have the power to surpass all...
...And yet, because the curse also forces the sinners to be their opposites (more or less), the owner of the other six sins must be humble and wise enough to understand their own limitations and be honest about their capabilities. This unique mixture is a rather lethal one, because it involves a person who dreams big but knows exactly what steps will end up screwing them over. In other words--a genre savvy villain.
The Six Sins are...
Ivan, sinner of Gluttony. Ivan is unique among the sins for having the capacity to lie; the other sinners cannot. Ivan's sin was that he was a serial killer cannibal. At the height of his debauchery, he would eat one entire human a day, bones and all. (Literally everything in a human is at least some definition of edible with the right preparation; if you're a fat bastard, you have a big enough gut to eat much more than normal.)
His punishment, upon being cursed, was to become a mummy. (Think, half of the curse from Pirates of the Caribbean: Curse of the Black Pearl. Specifically, a combination of their appearance and the eternal hunger/thirst.) When he touches someone, he drains them of their physical energy, as if starving them.
Olivia, sinner of Lust. Olivia is unique among the sins for having the capacity to still sin, albeit not in her sin. Her sin was that she was a serial rapist--she tortured her victims, enacting various sexual fetishes on her unwilling partners. If they died, that was no problem; she kept going, making her guilty of necrophilia. She was also indiscriminate in her victim choice--man, woman...or child. So yes, she was guilty also of pedophilia. (I realize I might not be able to get this by censors, but I'd get as much as I could through with the rest implied.)
Her punishment, upon being cursed, was to become a withered old hag. (Think the other half of the curse from Pirates of the Caribbean, unable to feel the pleasures of the flesh.) Her touch drains mana. Because she is so denied what she desires and is eternally reminded of it, she experiences envy.
Balian, sinner of Wrath. Balian is unique among the sins for having full recollection of his name. All the other sinners only remember their first name, but Balian knows his full name. Balian's sin was that he singlehandedly massacred an entire city of 10,000 civilians. When an army of 20,000 was mobilized to avenge them, he massacred the 16,000 who fought...and then, when 4,000 fled in terror...
...He hunted them down, massacring every village along the way, just on the possibility they harbored his prey. He left no survivors by the time he had finished. So yes, he was in fact a person of mass destruction. He was a spellblader, whose spells are ironically what he is more or less cursed to only be able to use (nothing more). Back in the day, he used entrapment spells such that he could help narrow escape routes such that there was nowhere to run, allowing his massacres to transpire.
...Now, he is cursed with the appearance of a pseudo-Buddhist monk (bald head, peace beads, etc.), able to create barriers (basically a kekkaishi) which are explicitly nonlethal. He cannot loophole his way into killing someone by, say, materializing a barrier inside a body, or asphyxiating someone by draining their oxygen. (Well, he can do that to the point of unconsciousness, but the barrier collapses before killing anyone.)
He is forced, absolutely forced, to be a complete and total, absolute, utter pacifist. He cannot harm anyone. At all. He can only prevent harm, and is in fact compelled to do so. He can't do nothing; he must help prevent harm, in order to never embody his wrath.
Erik, sinner of Envy, is unique among the sins in that he has no recollection of his past life--thus, he doesn't remember what sin he performed. (Mostly because I couldn't actually think of what atrocity he committed comparable to the others, butstill.)
His curse was to become a blind beggar, with the gift of healing--in other words, he is forced to only give to others and to never in turn receive anything for his service. He is basically compelled to always reverse destruction.
Deryll, sinner of Greed. Deryll is unique among the sins for not having anything unique about him. He is a textbook cursed sinner. His sin was that he was a serial killer of noble heritage--similar to Gluttony, he murdered at least one person a day, but instead of eating them, he collected various, numerous trophies from his victims. (Which is a semi-common thing from actual serial killers.)
His curse was that he became a robot, unable to be adorned in anything. (This was the only way I could think of to make the fact that he's naked get by censors.) If he grabs onto anything, he is forced to teleport away--without the item.
He also serves as the messenger for Muse. He's the one who informs the Thaukama that Archer made use of powers of the sins and knowledge acquired from his master, and that his master is actually out for much the same goal...however, his master still regrets Archer's actions, because while Archer acted alone, it was only possible thanks to his master's research.
Furthermore, his master desires to acquire his goal through any method necessary--even peaceful ones. Conflict was thus, strictly speaking, unnecessary, and that it happened was not ideal; the violence used was excessive and entirely unrequired for the goal.
However, Deryll does relay that his master laments that, inevitably, they'll still come into conflict, because his master is villainous and the Thaukama are heroic so even though his master's goal can be met without any force, they will still end up fighting each other.
Ulysses, sinner of Sloth. Ulysses is unique among the sins for being the only sin to feel remorseful for his sins. The other sins? They still desire their sin, just are cursed to never have it. With all but Olivia apathetic about their situation, yet making it clear they absolutely would still perform their sin if they were capable of it.
...Not so much for Ulysses, who feels immense, deep regret for his actions, desiring atonement he knows he'll never get. His sin was multiple chained events--he started as an adventurer, becoming a part of their core group. Eventually, he was placed in a position where he could easily have saved them...yet he let them die, and reveled in it, enjoying the absolute betrayal of trust his companions had placed in him.
After this, he returned to his kingdom where he was a prince, and took innocents and placed them in Saw-like death-traps, such that he could just watch them slowly die as they tried to get out. At every stage, he could abort the torture-executions, but he kept them going because he enjoyed watching them suffer and die rather than sparing them.
Inevitably, his kingdom was invaded, and while he easily could have crushed the invaders...he let his people perish. He deliberately ordered his troops to more or less act in the way which was most passive and yet still suicidal. Then, fleeing from the carnage, returned to adventuring and duplicated his first feat on a second group of unsuspecting adventurers.
This betrayal of trust is emphasized as essentially having been the worst of the sins (not that hard to understand when you go Thaukama-->Nakama), and thus, his curse is also the most severe. At its most base level, his curse makes him an insomniac, incapable of sleeping and yet always eternally having the effects of sleep deprivation forced on him thanks to this.
Furthermore, he is a compulsive analyst genius. (And yes, he does look like L from Death Note.)
The exact specifics make this even worse. He has the absolute compulsion (think like in Code Geass where Suzaku is geassed by Lelouche with the "Live!" command) where he cannot commit suicide, not even suicide by cop; he is compelled to fight to survive and to not pick fights he cannot win. If he can win a fight, he is compelled to proactively INITIATE said fight against any he deems a threat to his master; he can't let his opponents live/go free, nor can he let them kill him.
Why would he want that?
Because he is in eternal pain. He has hyper-senses. Increased vision, VERY increased hearing capable of hearing everything, increased sense of touch, taste, and smell.
Additionally, he is constantly being forced to analyze that sensory input. In short, he is a constant, never-ending, ultimate Sherlock Scan, aware of every little detail about everything in his surroundings which more or less means that he can see the life story of everything he is around more or less; there is no "off switch" to this ability, and no way to tune it out.
Worse, he has an Eidic memory. He remembers everything. Every thought he's ever had, every emotion he's ever felt, every feeling he's ever experienced. Pain from a wound he sustained hundreds of years ago still hurts as if brand new. And that above ability? You know, the scan everything one? He remembers every single second of every single scan.
Constant sensory overload, fresh every single moment. He more or less is in a constant neverending hell, and among the reasons is that he can remember with crystal clarity his sins, and what he did, the absolute betrayal of trust, the feelings he felt when doing so, and with his new abilities, being able to understand exactly how every single victim felt, through a combination of a retroactive sherlock scan (that being, knowing things he didn't know at the time through having perfect recollection and perfect intuition) and through personal experience (in that unlike when he was originally alive, he has now personally experienced the wounds he inflicted on others dozens of times so he knows exactly how they felt).
He is forced to hunt down enemies and eliminate them, knowing full good and well exactly what it feels like to be killed, and being unable to be killed himself because he's too competent to be killed and can't let himself be killed. He basically gets to always experience the absolute worst of everything.
This is, more or less, what gave him a conscience, though. By having to actually witness what his atrocities were like, he actually genuinely is sorry for it, but knows that even were it possible for him to be released from the curse, he wouldn't deserve it.
By the way, yes, he is in fact the most deadly of the six sins. He makes it abundantly well-known that he is in fact going to massacre the Thaukama if they let their guard down for so much as a second, and the only reason that he isn't compelled to fight them is that he calculates a 60% chance he'd die when fighting every member of the Thaukama at once, violating his master's commands in the process.
I think that's about it. I am looking at the three sheets I have, scanning them for information, and I BELIEVE I got everything I had written down, so I think that's everything.
So yeah, that's what I had.