How much? Six and a half inches, snow. Enough where we have maybe one car capable of getting out? Most of us were certainly staying home today, including me. Fortunately, I didn't need to tell my boss that I couldn't come due to inclement weather, because my boss told me that our facility was closed for today. (Did need to cancel my counseling appointment tho.)

It is cold and it is not gonna melt and even if it did melt it's gonna refreeze which is even worse than before the melt. (Funny thing, ice is ten times more dangerous than snow. Snow's not much worse than water; ice is...well, ice. And melted snow refrozen makes solid sheets of it.) Meaning I probably won't be going to tae kwon do tomorrow, either. (Which kinda sucks, as I said I would and it's the first day of a new session for the lil' kids class. But, safety first.)

Being trapped at home on a day I didn't intend to be left me realizing...it is immensely, tremendously, overwhelmingly, boring because I am still in that recovering position of not really knowing what to do because I still don't feel like :efforting:. Mostly, I messed around for a few hours in Majesty (someone figured out a quest turning Majesty into a tower defense game of sorts, and then released a mod based on that quest for guardhouses which upgrades them further than the mods existing, allowing for lots of fun).

I also have made significant progress on the story of Worms. I'm ending the night having just finished Interlude 14--by my understanding, not even remotely close to finished with the story and it certainly doesn't feel that way. There are events which I know happen (TVTropes spoilers, the very thing that got me into reading Worms in the first place). One or two, I can kinda sorta see as maybe being close, but the others are events that in order to transpire (which I know they do), require significant setup (which hasn't happened yet), setup that doesn't just magically appear out of thin air.

So, slow and steady progress to go. Reading a comment at circa 12 posted in like 2018, I seem to recall them stating, "not even a third of the way through", and that wouldn't surprise me in the least. It is a thoroughly entertaining read, and I'm actually a little miffed at one little thing; Shatterbird's control over glass (which extends to Silicone) is pretty much exactly the power one of my heroes (canonical to the Rubyverse) has; he even goes by the codename of Silicone.

Ah well. The OP nature of that power (in a bad future, said character is one of less than ten superheroes/supervillains left alive in the dieing Earth and could continue to exist even after literally every single other person died; through time travel where he basically inserts himself into the pass, said future is averted and thus his present-self is significantly weaker than that and rather deliberately keeps himself rather weak since he hates his future self's guts and both share the sentiment of him not wanting to walk that path a second time, but I digress) is bound to be something others would be aware of.

Anyway, at least I'm not sick like I thought, and didn't have stress of work to make it worse. Also, we haven't lost power. Obviously, saying that is tempting fate, but realistically speaking, if we were going to lose power, we probably would have already. The snow stopped falling; the melting and refreezing could knock out power, but is incredibly unlikely to, and even if it did. It remains true that so far, it hasn't, which remains a blessing in my books.

I think that's all I can think of to say, so probably gonna go to bed now.

So have one now!
Today, I developed another take on God and Angels which would be for a story.
What story, heck if I know. Not the Rubyverse, not Phyrra and Cyrus, not Soano, so that disqualifies the usual candidates. Could be new, could be an existing story (but probably not), got no clue even what form the story would be; all I know is that the story would feature what I developed today.

And what I developed today was basically an origin story of roles and relationships which persist to the modern day.

God, in this setting, as per my usual, is agendered, having no actual gender. God is an entity, existing in a way transcending our understanding, neither male nor female. However, God likes to present itself in the form we are most comfortable with.

As most humans identify God as being 'He', that is the form He usually takes, and will be how I refer to Him for the rest of the ramble for the sake of simplicity. All of His creations are also agendered at their base levels. The souls of humans have no gender (even though spirits have gender), and so too are all angels agendered, able to appear as male, female, both, or neither, at will.

God has more to him than that. He is not the all-powerful God that we know.
​In this setting, God both did, and did not, create the universe. God gained awareness, but was blind to everything. He saw absolutely nothing. He could do absolutely nothing. But then, He noticed something--the event that we would come to define as being the big bang, as a possibility. Not a reality, but a possibility. And He could make that possibility become a reality, so He willed it to be, setting off a chain reaction.

In the resulting universe...God can't break the rules of reality, but He can bend them a bit, where He influences events. So, He is bound by the rules of the universe, thus, is not what we'd call all-powerful...even though He is able to do just about anything.

God can see everything in our universe...but in order to see a specific thing, He has to actually focus on that thing. This can be thought of as seeing the forest instead of a specific tree within--He sees the whole forest and thus has an idea for what happens within, but the only way for Him to know what happens to one specific tree within the forest is for Him to focus His attention on that tree.

Since the universe is a very, very big place, that's a very, very big forest for Him to be monitoring the trees within.

God can see into the future...but He only sees the probable futures that are most likely to happen. He is thus able to be surprised both by natural freak occurrences and of course by any creature with free will, including humans. We usually act in the way He sees us acting, but we can still surprise Him at certain times.

God both knows everything about the universe, and yet doesn't know everything about the universe. This can be thought of as an instinctive knowledge. He, by what we'd know as intuition, more or less knows what everything does...but He doesn't know precisely why they work that way, only that they do.

So when you combine all of this, He's not all-knowing or all-seeing, but He's still fairly close, in that He knows the general workings of the forest, the general happenings of the forest, and the most likely occurrences to happen in the near-future of the forest, and He is able to directly influence the forest.

...Just, not turn the forest into a fire, as it were. (Though He's quite capable of setting the forest on fire, should He so will it. He just...isn't.)

God has, throughout the history of the universe, been trying to influence it as positively as He can, but while He has capabilities beyond what any human has and his existence is far above our own, He is not perfect; He can both make mistakes, and have oversights which lead to bad things having happened.

To this end, He actually uses His direct creations as tools.
Angels, with a single set of wings and the ability to take on any form they please, serve as monitors of sorts. They observe areas of reality, interact with it on a more direct basis, influence it subtly rather than overtly, but also constantly and consistently rather than sporadically.

Cherubim, with two sets of wings, serve as more or less the 'workforce of the heavens' (if angels can be thought of as the 'workforce of the non-celestial'). They sometimes interact with the less-astral planes, but more or less do most of the "behind-the-scenes" work of running/influencing the universe for God.

Seraphim, with three sets of wings, serve as overseers. They are, more or less, the bosses of angels, but also are conduits. They serve as a direct line of communication. They occasionally communicate directly with God, and are more or less His direct assistants and underlings. They very rarely, but on occasion, interact with more mortal realms.

Arcangels, with four sets of wings, serve as almost-equals to God. Direct underlings, direct 'generals', direct advisors, who are full-time entities serving more or less as His direct "balance-checkers" as it were. It is literally their job to question God's decisions, more or less. Well, two of them at least. (Gabby, the third, more or less has the job of being the direct enforcer of God to keep unruly children in line, and serves as a balance and tipping point, keeping disarrest from happening.)

​Arcangel Lucifer, The Lightbringer, Satan of Hell, is "a bit" of a rebel, using his male name and pronouns but taking on a permanently-female form. (Why? Because.) He is not actually evil. Just...argumentative, and strongly opinionated. (He's the oldest of the three arcangels.) This puts him frequently in disagreement with God, but he's not always antagonistic with Him. Just usually antagonistic.

​And, interestingly, he is not always wrong. God is, as mentioned, not perfect. He can make mistakes. Usually, a fair indicator of this is when Michael/Michelle agrees with Lucifer, but even when not, sometimes, God admits that even if Lucifer's exact argument may not be right, he still raised valid points to take into consideration.

His eight wings are all white feathered wings, representing his element being pure light.

Arcangel Michael/Michelle changes every human life cycle between which form (s/)he takes, and is currently in a male form. Lucifer tends to be a champion of the greater existence thinking on levels of souls; Michael tends to be a champion for existence on a smaller scale--most notably to humans at least, that of our own, dealing with us both spiritually and physically.

This still puts him/her at odds with God on occasion, and at odds with Lucifer on occasion, but the two are actually fairly similar to one another, having a lot in common and getting along fairly well. Michael/Michelle is the middle-aged of the three, and has his/her wings be of different elements:

Two fire-wings, two ice-wings (all four feathered), one water wing which more or less looks like a liquid octopus tentacle with dangling squid-like-tentacle protrusions and a jellyfish-like membrane (all made from different types of water, but giving it an aesthetic loosely like that of a bat wing, only with anatomical parts matched to sea life), a matching wing made of energy, with what looks like lightning for the bones and the membrane more or less being visible static electricity (so, another bat wing).

His final two wings, both feathered, are one white and one dark wing, representing light and darkness.

Arcangel Gabriel/Gabrielle, Gabby for short, usually takes on the gender opposite of what gender God would be represented as when appearing spiritually, and takes on the same gender as what God would be represented as when appearing physically. 

This is more or less because Gabby tends to take on the role of both arbiter and enforcer: as a representative of God, s/he will want to appear as if an incarnation of God when walking among mortals. However, on a more spiritual level when individuals have a stronger direct connection to God, Gabby then represents the opposite side of what God is seen as, as to provide a sense of balance.

Since, as mentioned, most people see God as male, Gabby is seen as male when in physical form and as a female in a spiritual form. And since arcangels tend not to spend much time in the physical realm, it's usually safe to assume Gabby is a she.

Gabby's got four wings like the other arcangels, but one pair (representative of air) is invisible, and thus, can't be seen. She has two metal (feathered) wings, two rock (also feathered) wings, and two vine-like spines of wings with hordes of bugs swarming from them to form a vaguely insectoid-like wing. Think like a butterfly wing, except instead of millions of scales, it's millions of bugs. These represent various aspects of life:
Rock, as the raw building blocks; insects/vines, as the creatures created from it; metal, as the refined products made from the life.

...That's as far as I got on that.

Like I said.

I don't really have a story.

Well, I do.

I think me describing the above?

That counts as a story.

In that I have four named characters with numerous implied lesser characters.
I have these characters' backstories defined, as well as more or less what their abilities are, albeit deliberately vague on the exact nature and scope of them.

So there's the makings of a story.

But I didn't really take it anywhere.
Haven't built it further and I probably won't.
Haven't placed it anywhere and I probably won't.
So what you see here is probably what you're gonna get.

The next time I talk about God, Angels, or anything like that, it'll be yet another story. Maybe already existing, maybe another new one, but I can guarantee you it won't be this one because I really don't know where to go from here. This was all I had.

One of the things which turns me from manic to depressed so often now in spite of medications meant to help with that.

Forgive the phrasing as it's something I'd normally not say unless in tongue-in-cheek because saying it seriously is a hallmark of arrogance, but I can't think of a better phrase to describe the issue:
"It's not every day you have a stroke of genius."

I don't want to call myself a genius because of how presumptuous that'd be. BUT. I think you can at least understand my sentiment here, what I'm going for.

It is not every day that you come up with a great idea.

It is not every day that you come up with an idea which is amazing.

And like.

I know I am a very creative person, who builds grand worlds. The World of Soano (The Descended's setting) is one of my favorite places. The Rubyverse is a conglomeration of my work across the years and takes the best of everything put into one place.

Heroes of Gistou takes what is perhaps the greatest achievement I've ever had as a writer and is a conglomeration of all my years of work as a writer; in the original mafia game I wrote the flavor for it was ambitious enough but as a novel which took things even further, it has literally every skill I've ever used in any of my stories ever in one place, while adding elements I've never used before including diversity in gender/sexual orientation (okay so that's touched on very lightly in one other story but only barely), racism, and hair/eye/skin color and whatnot.

It is basically my crowning achievement as a writer because the characters are humans I know (okay so to be fair, this was a bit of a cheat because when writing their characters some influence from the players who were assigned those roles leaked in), the setting is one of the most intricate ones I've built, the plot is one of my favorite stories, and the quality of the writing is the highest I've ever done; there's nothing to top it.

Though, coming close would be the other novel I was working on when my flashdrive failed and caused me to lose literally years' worth of work. (Still bitter about that, but if you're wondering, probably wouldn't work on my novel if I had the information, anyway. I'd back the information up, but my mood to work on the novel was utterly killed and having the flashdrive back and functioning wouldn't magically revitalize it.)

It is, in many ways, similar to Gistou in that it is the other story which touches on sexual orientation (albeit not gender orientation), and in some ways it actually is more of a statement. Some things which we might think are very unprogressive are shown even from the main characters...but this is more or less commented on in the book and you can tell that it is a deliberate narrative choice. (At least if I competently write that is.)

Racial divide, philosophy, the nature of war, the nature of fate/destiny, discrimination, eugenics of a sort (something I don't think I ever actually wrote down was a minor revision to dialog at one point where the protagonist notes that while there are 10,000 humans left alive, only about 4,000 of them are pureblooded humans with no genes from the other species which is closely enough related to humanity that they can have fertile hybrid children and said hybrid children's descendants account for the other 6,000 and the protagonist believes that in order to survive humanity needs that genetic diversity since humanity's gene pool is dangerously small; even his ancestors had a first cousin marriage).

It just touches on a lot of things, with some of the most powerful writing I've ever done, a full cast of characters who are actual CHARACTERS. They don't just have quirks. They have flaws. Most of my characters, well, they might have flaws but they don't get displayed in my writing. It's a bit of a weak spot in my writing; when I write characters, they don't tend to fail, they don't tend to have shortcomings, they don't tend to be in the wrong, and so on and so forth.

This story has all of that. And the question, of course, of "am I really in the right?", with ambiguous answers, rather than clear-cut ones. People. More than any other story, maybe even more than Gistou, people. Yet the world has a beautiful history to it and the plot progresses in this altogether philosophical way, where action is happening and yet you still get these little moments to know everyone.

The Perfect RPG for me is a setting I might have slightly tabled in favor of other projects, but I am still passionate about it because I really like what I made there.

I still want to make the Disneyesque Villain Song setting. I've toyed with various expansions, from extra characters (the protagonist, the seer, the love interest, the best friend of the protagonist, a cool old guy, and of course the villain among many others), how the beginning of the story unfolds, how the protagonist meets the love interest, how the story ends, and little things here and there including that the villain would be almost by-the-book following the evil overlord list (with some liberties taken here and there).

It is a wondrous, beautiful thing, envisioned as a film but also suitable for a miniseries. Probably not a full series, but could be done I suppose with tweaking.

And then there's the two most recent.

Phyrra and Cyrus.

And Dawn of Order.

I am passionate about them all.
Yet those ones really speak to me as, so to speak, "genius among the genius". Or rather. "This is the perfect balance of something which can actually be done (and is thus, pragmatic to do), and yet is something which is still grand enough to be ambitious, reach the masses, and inspire greatness", more or less.

Phyrra and Cyrus, and Dawn of Order, are both outside of my general comfort zone. I am a writer first and foremost. I am secondarily an artist. While those are used in animation and games, they are not at the forefront of them. Both have incredible ambition behind them, both have incredible ideas which make them truly unique and original, and yet because of what they are, are something which can be spread to the masses fairly easily and readily once made.

And more than that. I feel that they can actually be done. Not by me, alone, yes. But they can be DONE.
One of the reasons The Descended may never get off its feet is because it feels like a project which needs to be done entirely by me, but yet the scale of the project is such that while it's incredibly ambitious I'm probably never going to be able to complete it in my lifetime just as me alone.

Aside from how I've lost the art and scripts I've had multiple times, aside from how the site is (pardon the language) a clusterfuck and yet I have a strong desire to not nuke it and start from scratch. Aside from that. To tell the story I want to tell, I need to produce high-quality, almost professional art. Yet there's a ton of content for the story. I've forgotten a fair amount and with no usable notes that content is lost forever but even with it removed (or magically recovered).

The story isn't short. Compared to Red Hood Rider, yeah, it's short. But it's still something which if I were updating daily would take years of my life to complete and updating at a rate slower than daily would take...well. Longer than a human lifespan, honestly. 

Speaking of Red Hood Rider. What I just said about The Descended applies to it, too. Red Hood Rider, being a project which is mine. Just feels like something which should be done by me. I have also lost many notes of mine on the subject and what I have is chaotic, jumbled, scattered. Yet new content keeps being added even to this day, and content gets revised. And it's estimated to be about 80-100 episodes worth of content.

Each episode with 20-40 pages.

If that were daily updates that'd be potentially 4,000 pages. You know how many years that is? Ten. If I were releasing daily pages it would take ten years to complete Red Hood Rider. Now imagine less than daily. And knowing that the quality of art demanded for the project is even higher than that of The Descended, because Red Hood Rider is meant to be something which could be adapted into an animation (which is why chapters are called episodes).

My novels are, obviously. Personal projects. Can't outsource writing. Well, you could I suppose but heck no that's not something I'd do. So it'd have to be me doing them, by myself, alone.

All of them, I can reach out to others of course. Get a novel published, I can communicate to my readers. Start updating a webcomic, I can have dialog with my readers actively on a daily basis. But there's something in that which feels missing, actually.

And that is something not missing when I think of Phyrra and Cyrus especially, although also recently Dawn of Order.

Because on those. I would be creating my visions, but I'd be working with others, collaborating with them to bring what I envisioned to life. It would be my project, it would be personal, but it would have the touch of others on it as well and that would be a good thing. For The Descended, Red Hood Rider, and my novels, the thought of the touch of others on it feels WRONG.

But because it is literally a requirement for Phyrra and Cyrus (given voice acting) and Dawn of Order, it feels right. It feels good. The thought that I'd have it.

I'm not sure I'm presenting a very coherent thought here on what I am getting at.

What I am getting at is that many of my projects, I feel are personal projects.
Yet when it comes to a project like Phyrra and Cyrus.

What makes them strokes of genius.
Is that they are something which aren't personal projects. Yet in spite of not being personal projects. They feel like they are realistically achievable. I don't think anything I've envisioned in them is impossible, unreasonable, or really that hard to achieve if I really set my mind to it.

And I just.
Really, really like thinking about them.

And that's where the depression comes in--when I can't think of them, as it were.
Or rather. "I have thought of this great idea. Why am I not thinking of something just as good, or doing something just as good?"

By that, I mean.

Anything I do, I feel like it's less than what I could be doing.

I pretty much stopped playing Final Fantasy VII once I started envisioning the perfect RPG.
And now there's something similar for Majesty, Zeus/Poseidon, and the like.

Where I have envisioned a really cool game, Dawn of Order. Which I want to be playing, or at least designing. Rather than playing those games.

And any other game just feels...lesser than those, because those are some of my favorite games after all.

And there's something similar for Phyrra and Cyrus.

I've pretty much stopped rehashing most of my ideas (aside from the villain song one which is alive and well) since starting it. And when I think about them. I just. Want the moments I envision to be real.

I've even mapped out exactly how I could do it, too. The things I ask for, most I know explicitly can already be done because I have seen them done. And if I've seen them done, then it is possible for them to be done on my project. (For reference, this is also true of Dawn of Order. I don't think anything I describe is impossible, not even when putting it all together, because every element I describe exists in one of the games I was inspired by, and while I know code isn't exactly directly transferable, it'd be possible to more or less manage it if you were a competent coder familiar with the inspiration and knowing the intended result.)

​If I could, for instance. I'm like 97% sure that Phyrra and Cyrus could be hosted on ComicFury. Yes, it's a comic site, yes, Phyrra and Cyrus is an animation, but I am almost absolutely positive (thus the 97%) that a "comic" can be a video.

Specifically. A video which doesn't autoplay, which you hit play in order to play, and which has both animation and audio. There is a file format which allows that. Well, multiple file formats. But I am positive one of said file formats, ComicFury supports for comics, and thus, it would be potentially possible to upload an entire episode. (Might run afoul of the size limitation to uploads but I'm sure there'd be a workaround for that.)

If that were possible, then from there it'd be easy.
Each comic (except fillers in the form of character art or worldbuilding concepts) would be an episode.

The most iffy thing I'd want would be the ability to make a video fullscreen; I'm less than positive that'd be possible.

But I'd want a home page with disqus comments that'd display the latest episode and latest blog (easily done), the ability to leave disqus comments on every blog post (easily done), maybe disqus comments on some extra pages (easily done), and then for the comments on every comic...
Disqus comments displaying on top and ComicFury comments also displaying below Disqus as the default (seen it done so it can be done),
With the option to alternatively have ComicFury comments on top and Disqus comments below,
And the option to hide ComicFury comments (seen it done so it can be done),
And the option to hide Disqus comments (seen it done so it can be done),
And the option to hide both comments,
And the ability to save preference for comment display (the above options) between both pages page to page and visits  visit to visit (meaning not needing to manually click the preferred option each time; pretty sure this can be done),
And Disqus comments linked to every site I host Phyrra and Cyrus on with Disqus (seen it done so it can be done).

Optionally, with a domain purchased and used.
Premade layouts have a quick-navigation (dropdown menu) so I'd have that, and premade layouts also have the "save my place" function for saving the comic/episode location you were watching so you can "load my place" later, and optionally, I could maybe have non-intrusive advertising built into the site.

So that might seem like a fair amount. But given what I know ComicFury can already do. In that I've seen almost all of this already done. I'm pretty sure it'd be possible to do. And it'd be awesome.

This is what I mean. I mapped that out over a week ago. It's doable. Most likely, at least. 

It feels like something I can actually have made real.

It feels like something where I could have a blast.
Just interacting with viewers, with fans, with friends, and coworkers, to make a project, pouring pure love into it every step of the way. A project which is mine...but also more than mine. Something greater, built by a team, a community. Something to share with the world, and be remembered for.

Something unique, quirky, original, and ambitious. Yet not so ambitious as to be impossible. To be manageable. To be something that can be made.

That's what I want to make on a daily basis.

But it's not every day I make a Phyrra and Cyrus.
It's not every day I make a Dawn of Order.
It's not every day that I get to have those moments of genius for lack of a better term.
It's not every day where I can snatch that greatness and feel it.

But on those days where I don't have the greatness.

I still remember the feeling of it.
The sensation remains.

On days I am not making the next Phyrra and Cyrus. Or for that matter, making Phyrra and Cyrus. I am remembering the sensation of Phyrra and Cyrus. And that is where the depression comes in...because I feel empty, because it's just so real and something just so close to something I can see tangible...yet not actually existing. The ideas will die with me.

I intend to live a very long life, of course. But the ideas if I don't make them...well. Nobody else would. Nobody else could. They could make something which has all the elements my notes describe, of course. But it wouldn't be how I had tried to make it because my notes aren't nearly as extensive as they should be, and there are little things here and there that the only way I'd be able to bring up is if someone first was trying to do them wrong and I'd be able to tell them, "No, not that. This." to fix it.

And that's the frustrating feeling.

Knowing that I have these ideas. Ideas that are. No matter how much I try to be humble. No matter how much I try to avoid arrogance. No matter how much I try to be a realist, a pessimist, a cynic. Ideas which are just...good. Ideas which are genius. I have them. And they demand to be made real.

I feel them as real. I actually live with them as real. I don't just see episodes of Phyrra and Cyrus. I also see me interacting with viewers who watch the latest episode of Phyrra and Cyrus. Me commenting on their comments, engaging them in dialogs which are currently nonexistent. Talking to them, revealing miscellaneous facts, sometimes being a bit of a trolling creator, other times revealing tiny snippets which couldn't make it into the show, small Word of God things like that, you probably can get a sense of what I mean.

When I think of them. I am actively doing that. Not just laying out the episode itself. But also the reactions to the episode, which I know would exist because. Well. I am confident in myself. Not arrogance. I know that, 100%. If Phyrra and Cyrus was made into a series. There would be fans. There would be people commenting. There would be a lot of them because in order for Phyrra and Cyrus to publish so much as a single episode. It'd need to get the publicity to get off the ground in the first place.

In other words. I know that if Phyrra and Cyrus existed. There would be people talking about it. It would demand to be watched. Demand to be seen. It would be popular, spread like wildfire. I know this because I know what I can make it be. If it existed, then it would exist at a high enough quality where those things would be impossible to not have.

And the depression more or less comes from.

"...So why isn't it so?!?"

So why don't Phyrra and Cyrus already exist.
So why doesn't Dawn of Order already exist.
So why doesn't this idea. Which is magical. Have its reality.
And why can't I have something like it, right now, in front of me.
Why can't I have something like it, or it itself, in my mind if nowhere else.

And that's what cuts deep. Not having it in front of me. Not having it in my head. And not having something similar to it in my head. Living in a world where it doesn't exist tangibly. Living in our world. A world close to the one they exist in. But they don't. Because I haven't made them exist yet, in spite of being their creator.

I think that describes my depression pretty well. And people might be able to relate to it now that I've described it in those terms. But I never know. Sometimes, it might just be I'm crazy.

And yet in spite of it continuing to do so and even containing details I don't have written down (and thus, every time I don't write about them I risk forgetting), I continue to procrastinate about talking about them. Once more, I have a little bit of extra about them, albeit extra which requires me to blog about something which I was meant to blog about days ago.

And yet, once more, I am not going to be blogging about it, because instead I am going to be blogging about something else entirely. (Okay so there's a chance that I will, but that chance is so slim it is essentially none.)

Specifically, I have just...been wanting to talk about my identity recently. There have been a fair number of times where recently, I've either been just questioning who exactly I am (knowing that I am Bree, but otherwise being lost), or have just wanted to let it all out to people, to vent randomly in ways I just don't think about to vent to someone without a prompt--yet nobody gives me the prompt, or if they do, they give it to me in a public place where I don't want to give the rant.

Yes, technically speaking, this blog is public. But it is JUST private enough, it is just personal enough, that I feel comfortable sharing this sort of thing on here. Basically. There have been a fair number of times recently where I just wished someone would, in the right environment, give me the right lead-in to allow me to talk to them about some of the stuff below. Yet the lead-in I'd need is so specific that it'll never actually materialize.

Believe it or not. This blog? Was started very largely to make exactly this kind of entry. At the time, it was mostly to deal with me being a closeted transwoman who is both autistic and has bipolar disorder, and for me to unload it all on someone in real life, especially at work given my many frustrations there. That was one of the main contributing factors to me starting this blog in the first place.

It's something people often forget now that nowadays most of my entries are either related to my creations (stories, art, song, etc.) or non-entries that are more or less "sorry, stuff happened, so no real entry today". But part of blogging is telling stories from my life, or even just telling about my life. And this in particular is the latter because I just need to do that, in a way which is more conductive to a blog than, say, unloading on my girlfriend. (I mean, I could, it's just that this is the sort of content which works better as a blog than a rant to them.)

I'll start by talking a bit about my identity--as a refresher, yes, I do identify as plural. Specifically, the type of plural I identify as is a median. The, "there are many of us, but we are all Bree" descriptor is mostly accurate. (Mostly, because within me are at least two entities that are almost individuals who aren't Bree, but more on that later.) I have a core, the core "Bree", from which all of mes exist.

We are all women, we share most of our memories, emotions, and thoughts, and those are in the core. But there are things outside the core--memories, emotions, and thoughts unique to the personality. There are many of us indeed, but the primary two have come to be known as Ranger and mastina. mastina is the me most dominant overall, with Ranger at a very close second, and at some points having this be vice-versa where Ranger was more dominant even though she currently is not.

This is something which is, in many ways, similar to us being a transwoman--we have always been this way, as far as I can remember, with the compartmentalized thoughts and the division within us, not to mention the imaginary friend who never went away (more on that later). Yet like being trans, this isn't something we have known about consciously, actively, until relatively speaking fairly recently.

Specifically, the first inkling I'd say of us really having any semblance of an idea that we were divided within would be somewhere around circa December 2015. And I was confused. I didn't understand--I still don't! I have no clue what I really am, to be honest. But with help, I've been able to get some degree of better understanding, becoming more informed and also having done some searching and exploration.

My knowledge is still young. My experience is still growing. But somewhere circa 2017 I began to get much better grounded in having a more solid idea of who I am. Beyond that, I've been playing around with trying to figure out the differences between my mes.

Today, one of the things I figured out was that there is actually a difference in the way we think, and that we have different functions as a result. I mean. I knew there was a difference in the way we think; I've felt that before, where the very fundamental way I thought of things abruptly and suddenly shifted. (The shift between the different mes isn't something I control; I can't flip a switch and go from Ranger to mastina, nor is it that I go to sleep as one and awake as another. It just happens, that I'm one, then I'm another. These shifts can even happen in terms of seconds, where for a split moment I am one and then snap back to being another.)

But today, I think I figured out the way the thoughts differ.

I call the different thinking patterns "Linear" versus "Geometric".
You may recognize this as being, more or less, something from my perspective on art. And that's because it is! Basically, I have noted in the past that there are two ways to go about making art--the linear approach is, as the name indicates, focused on lines. You create things by the flow of lines.

It has the advantage of being fluid and dynamic, with good flow and movement, so when drawing motion, it's a nice technique. It has a disadvantage, though, in that accuracy tend to be hit-or-miss. Proportions, anatomy, perspective, the like, are all things which are potentially thrown off.

A geometric approach, in the art setting, is more or less taking the shapes, and building up the figure using them. This has the advantage of being accurate, but the disadvantage that it tends to be more stiff and rigid, coming across as a bit more artificial.

There's more to both than that (which I'll get to in a sec), but...I realized today that those approaches aren't just for art. They apply to a general view on the world in general. I mean, I always visualize things in those two ways, but I thought of said visualizations as an extension of art rather than extending the concept. The concept, though, works beyond just art for me.

Linear thinking, I realized, is more Ranger's specialty. It is organic, it is fluid, flowing, with movement, where things go with the flow, where things just come naturally and make sense, yet are sometimes a little bit questionable in how precisely they work. However, it does seem to work regardless of the flaws, and the flaws are what makes it actually be a thing of beauty.

When it comes to stories, I realize that the me who converses to characters is always Ranger. It's never me as mastina talking to my characters. Always, when I am having an actual conversation with my characters, as their equal rather than their god/creator, it is Ranger who speaks. (Me as mastina, on the other hand, I am always the god/creator.)

In this way, Ranger actually gets to know the characters better than I do--and without her, I wouldn't have the signature characters I am known for making that are so authentic they feel like they're real. Because to her, they are real, because she talks to them. I don't, not as mastina anyway.

Ranger is also, then, the one responsible for most of the actual dialog in my stories. I as the writer might give the general nature of the conversation...but she's the one who actually hears the characters speak, because to her it is people speaking (the perspective of the equal) rather than characters in dialog (the perspective of the creator).

This is also why when I snark it is probably because of something she thought of. Most of my puns tend to come from her. I can force puns through without her, but the best puns which come with the least reaction time are always hers. Because she just sees the 'line' to say, as it were.

So basically. Ranger is why I got to become a character-driven storyteller in the first place, in spite of originally being a plot-driven storyteller. She spends time to learn character quirks, to learn things that aren't necessary for the narrative. I can get away with a bare bones narrative not featuring the things I put in...but she insists on them, because she saw them, when she was actually there side by side the character in question. Or rather, to her, the person.

In contrast. When I am mastina. I am more into geometric thinking. It is constructed, it is built, it is structured, and yet, it is also isolated. All the geometric work I do in my mind is largely disjointed from other things. I just go inside my mind, and then in a particular canvas, build what's on my mind. Now, from that item I built, I can then build another. And then, build another from those. And so on and so forth.

I make the parts, one by one, until I have the whole assembly. Circles, squares, cylinders, triangles, and the like, to build a person in art. But also worldbuilding. I build worlds. Worlds have rules. Rules require structure. Ranger wings it in terms of that sort of thing, which is often why her stories run into problems of, "okay...now what?". Where the story ceases to progress due to writers' block, because she has an idea for what things should be like and she knows very specific things (because she saw them, and thus, those specific things are in her mind), but if she doesn't see every last detail then she runs into a problem of not being able to progress.

This way of thinking does have overlap with linear thinking--after all. To get from Point A (which is geometry; points are one-dimensional geometry) to Point B (which is still geometry), you need to...form a Line. That is two-dimensional geometry. But to further the metaphor, the line created using this method is straight, rigid and unmoving, whereas the lines created with linear thinking are more fluid and bent.

Now, the metaphor begins to fall apart when you introduce more advanced math (parabolic arcs, sin, cosine, tangent, and so on and so forth) not to mention the geometry of even just a partial circle allowing for curves in the form of arcs, there's at least a dozen way math nerds can poke holes in the allegory. But the basic idea I'm getting at is that there is in fact overlap, and that's where it is.

But there are things which are in the geometry only just like there are things which are in the linear only. Some of them are strengths, others weaknesses. Characters I build as mastina tend to be tools. They are characters--means to an end. I construct worlds, I construct their rules, and I make most of the plot. I know the overarching events which happen.

I don't know the exact manifestation of them. I might know the tone of a conversation. I might know the general content of the conversation. I tend to know why that conversation is going on. And many other similar things. I can know every detail of the conversation, except the actual words spoken. It's kinda strange, to even know the exact inflection and intonation of what is said yet not knowing the words. I can do that.

But for the conversation itself, if it's not Ranger, it's going to be very visibly artificially constructed because it was in fact artificially constructed. She lives it and thus records it and knows what's natural, and it's her instincts on dialog which I am using in things like Phyrra and Cyrus, but what she sees is only small snippets here and there, often only after I focus on a particular scene for a great amount of time.

The payout's absolutely worth it, of course. Because I never laugh heartily at conversations I have built, whereas when I am Ranger and I see the conversation happening, I laugh hard, especially if my characters are laughing with me. So it's not that Ranger is an artist/writer and I am a writer/artist. We're equal parts both, just...in different ways, with different strengths and different weaknesses.

And, yes.

This exists outside of writing, just like it's outside of art.

It's how we process information. I itemize lists. I have a very "listed" format. Structured, orderly. Ranger...messes it up. I tend to be the one writing our "scripts". I've talked about that before a bit (not sure if on the blog or not), but basically, whenever I am thinking about a conversation I'll have, or whenever I am in the middle of a conversation, I think up every possible variation on what I want to say, and every possible response I can think of that they'll say.

When I then promptly mess up no matter how much I tried to nail it, it's often Ranger who picks up and just wings it. But sometimes I mess up because of said winging it, especially if she jumps in without giving me the time to have built the script. 

Ranger's got a faster wit, after all, so it's no surprise her reaction time tends to be quicker. She just kinda sees things, and then puts it together, even if she has no clue how she saw them and put them together. "Oh, that is like this". With no thought in, she just makes the connection and then that connection is there.

I have...a more roundabout way. I link things together. I make an association: "this to this". And then I rely on that association to make a new one. For instance, in order to remember the band name Modest Mouse, I first think, "Band name...Mouse..." and then I jump to "Mightey Mouse", a user from the site I play mafia on, and then from there I go, "Ah! Yes. Not Mightey mouse, it's MODEST Mouse!" in order to get the right band name.

Yes, it is contrived. Yes, it is convoluted. But you know what else it is? It's consistent. I can, 100% of the time, using this method, remember a string of information, even a disproportionately long one. And that association tends to never go away. Once in my mind, it is almost impossible to remove, for better or for worse. I have never once failed to recollect the band name of Modest Mouse since my mind made that association, in spite of me having to mentally ask what the band was (and sometimes being asked) dozens, even hundreds of times.

There is a delay built in, though. I have to manually think it through, step by step. Some steps I can skip because they are internalized enough that my mind conceptualizes it fast enough that I don't need to spend time giving it a thought. (Basically, the concept of the step is enough; I don't have to spell the step out every single time in actual thought.) But I still run through every step to get that.

I can also do temporary versions of this by 'storing' data on my fingers. I can itemize things, and then even itemize the itemized things, and sometimes even itemize the itemized itemized things, though the deeper the list, the more prone to forgetting I am.

Concepts take form, take shape, one by one: each concept can be thought of as a single piece of geometry. And then my mind links the concepts, one by one, by building further geometry. And each concept is then fleshed out with additional concepts, additional geometry. And from this I form thoughts, form words, form ideas, that I can express in word form or whatever I may be trying to do.

Ranger's way is more. Well, she still thinks in concepts first, and struggles to translate concepts into English. It's just, BAM, there, and then, not there. There, then not there. There, and then from there, going here. But there's not really much of a direction when I do that. (Oh and yes I do slip from Ranger to mastina in the middle of a blog. Get used to third person, first person singular, and first person plural when I make a blog like this because I can be describing myself in third person, then slip into being that person.)

I just. Think. And the thought appears. Usually faster. But also more inconsistently and less coherently. It makes sense, internally, but externally when manifested it's more difficult to understand because while it has the general shape of something which is the right thing, the specifics are a little iffy.

I don't even really know how it works. It just does. And the results tend to be what they are. (A slight consequence of switching mid-project: I tend to lose the train of thought I was on, because quite literally the thought belongs to someone else and with the thought in that someone else I struggle to maintain it.)

Structure the specialty of one, details the specialty of the other. Things come faster when specific, yet are more coherent when waiting. And that coherency is easily broken, yet solved on the fly just as often.

Which brings me to a related concept.
I am still exploring this, actually. The concepts, intuitively, feel like they are different, and yet when I look at them, I can't help but feel they are intricately linked in a way where the amount of correlation between the two is such that they are almost synonymous.

And that's Instinct versus Reason. (Or Gut versus Logic if you prefer, but I have very strong reasons to prefer my terminology, that I'm not quite sure I can verbalize.)

Instinct and Reason have always been opposites within me existing strongly, and yet never having me be one; I'm always a little bit of both. Yet I've picked up that Ranger tends to be more instinct and I am more reason as mastina. (YES REALLY. If you know what my definition of Reason is, you'll understand.)

The way I wanted to talk about this was to actually go into stories a bit. In Red Hood Rider, Vampires represent the ultimate creatures of Instinct, masters of it who live on their impulses. They manipulate the rules of reality to serve them, bending the world to their will, but they are still confined to them. As basically-humans, they do have plenty of reason within them, but they are driven by what they feel.

This is almost identical to Monlows from the Bleach knockoff story I still need to talk about in a massive blog some time, and is a recurring theme in my stories. Werewolves in one story serve this function. Red Hood Rider is not my only vampire story where Vampires take on this function. It is an incredibly common motif: a creature of instinct, which is still capable of reason and yet is driven strongly by base directives.

In Red Hood Rider, the beings considered opposite of Vampires are Riders, who are considered on the top of the magical totem pole for Empowered Humans. They are humans who work on building structure, building order, on being the champions of reason, who exist always with logic and act in an informed way, making active decisions and calculating what they do.

​They still have instincts, and often quite sharp ones at that, but they never let their instincts take control and drive them; they have an internal control over themselves which prevents them from acting out in ways they know would be harmful. (Of course, they can still act in harmful ways if they don't realize it's harmful, but they are sharp and intuitive enough where they catch on quickly and fix the mistake when it's made.)

I forget on my notes on whether they break the rules of reality or temporarily rewrite them (I'm fairly certain it's one of the two and yes those two terms have a very important distinction in the Rubyverse, I just can't remember which is which in spite of them very much not being synonymous), but that's the source of their power--not something from nature (like vampires), but rather, something artificially created, manifested as a structured thing which has boundaries set by the user. They are still human, but they are human with help.

This model is more or less the same in the Bleach knockoff as being what the Montahame work off of. It is also the model which in settings where I have Slayers, they work off of. Beings who still feel, and have good instincts, but yet are driven first and foremost by reason, often with compassion thrown into the mix, yet with said compassion not getting in the way of doing their duties.

Contrasting the beings of instinct, who are under no obligations except for the self-inflicted ones they place upon themselves--sometimes, out of morals, but other times, simply out of a desire to survive, knowing that breaking said self-inflicted rules is a death sentence.

Ranger works more off of instinct. She can just have a sense for things, and that sense is often right, but while she can try to explain, when she tries to, she has difficulties. I'm no better, but for different reasons. I can figure out something, but when I figure it out, I don't figure out how to explain. I need to spend the time to create a different link in order to make the connection be tangible in words.

Another way of putting it--we all suck at wording things. Ranger gets flashes of beautiful words which are great but often broken/disjarred, whereas I struggle to get things but once I form the link I can throw together some elementary idea of what's the thing I am meant to do. 

Yet the way we suck at words is different. We approach things and react differently. Ranger has a first impulse and usually goes for it; I first think, then from the first impulse, further think, and from this, go for what I think. Yet Ranger still has to think, and I still have to go for what I feel is correct. Working in tandem, both present yet one dominant.

Yet there's more to Instinct versus Reason than just Ranger/mastina.

There are entities within me that aren't just those two, after all. I am many mes. They are the most dominant, but not the only ones. I don't even always know who is speaking, so to speak, but I can sometimes tell I am neither of them. Yet predominant entities within me are two individuals who never take the reigns.

They are the only two entities that I clearly know, aside from Ranger and mastina. They have been there for almost as long as I can remember. And yet. Neither has ever driven in my life, nor am I sure it's even possible for them to. They exist in the distance, in the peripheral. And never go away. They're always there.

I don't always have their counsel when I am talking amongst myselves (which is a thing I do, by the way; I do in fact have many a conversation where the many mes have full dialogs on a subject which could have been handled by just one person but wasn't because I wanted them to give their input), and in fact. Usually when I have their counsel it is just one or both of them with the current driver rather than a full council of mes talking side-by-side with them.

God pronouns are confusing even me so I hope you can follow along.
Basically, many mes talk to me at many times. But two entities, which I don't really consider "me", exist within me, that can also talk. And they have been manifested as instinct and reason. David, instinct, hasn't quite been around as long. My first memories of him are in my tweenaged years. But he (and yes, he is a he) has come to be a bit of the darker side of me.

He is not pure instinct. In fact, he is sharp with reasoning that cuts deep because I can never counter him when he speaks--because deep down, I know he's speaking the truth, more often than not. He just has the instincts for knowing what the case is...even if I really, really, really hate to admit that he's right. Because he's not a pleasant individual.

He is rude. He is condescending. He is demeaning, looking down on me, trash-talking me often. And he tells me what I don't want to hear, about all the things which I don't like to acknowledge come from me. Darker thoughts, darker impulses. He is there, reminding me that yes those exist, inside of me, and that he is the living proof of them, both as a manifestation of them and yet as something more than that.

Thankfully. I don't talk to him that often anymore--not because I've tuned him out. But just because he often isn't around when I don't need him. (And yes. I do need him sometimes, sad as I am to admit that.) Where he is when I don't talk to him, I don't know. He's never fully gone, but he just stays silent. I don't even know what exactly triggers him to give me a talk. I can have my life in a rut and have him be silent and yet not be in a rut and have him be quite talkative.

Yet every time, the feeling I have is the same: I hate, I loathe, the talk, yet feel better once I manage to recover from it. Talking to him rattles me each time, talking to him makes me miserable every time, often when I am already miserable, yet somehow because he is my deeper instincts or something like that I always end up stronger.

Basically, he beats me down and yet when I build myself up again after being beaten down, I am stronger than before. I guess when I don't feel like I need to get stronger he isn't around, would be my best guess. And that, I do admit, I have a lot right now. That "I know I should have a need to get stronger...but I am fine with my strength as is". I imagine with that mindset I am in for an awfully rude talk sooner or later, but for now it holds as silent.

Plus, one thing I am thankful for having him is that he is a safeguard against something worse. There is an entity within me that is me. ME. Not him, who is divorced from me. ME. A me, deep within Bree. Which is part of the median system. That is so bad that I bury it (not sure if it's a he, she, or neither). A me who has thoughts so terrible that I actively suppress trying to access what those thoughts were. (No, seriously. It's blocked off. I can't remember why this version of me is so bad. I just know it is that bad.)

I've tried guessing. "Is it a suicidal me?" Felt like, "no, it's worse than that". "Is it some deplorable act me?" Felt worse than that, too. I don't know what that version of me is, but it is the thing I am absolutely most terrified of. Some me that I consider a monster even among the monstrous mes. And yes. I have been a monster before. Yet the monstrous mes that I have been are terrified of the me that I buried.

To put it another way, the me that I buried is basically an evil even beings of pure evil fear. And I don't have the slightest clue as to why--only the strong warning to "don't dig", and that is a warning that I know better than to override, because the few times this version of me has come out, I have vague memories of the experience, of the mes around, just being terrified that that me was loose.

David, as much as I don't like him, I've come to accept as a part of me (well, not the core-me, but peripheral-me, inside my brain but not inside my mind, if that makes sense), that acts as a safety net against plummeting into the unpleasant mes. He is the monster who keeps my monsters in check. He is a very unpleasant person. And there have in fact been times where I've actually feared him, thinking that if he ever did drive, my life would never be the same, in a very, very, very bad way.

But I'm not afraid of him anymore. (I think in part because for whatever reason David cannot possibly drive and even if he could he would refuse to because he has no desire to. He's just. Different. Whatever he is, he isn't someone that is a me as I know my mes to be. The mes that I know are basically drivers, just drivers for different times, with most of them being unknown and not being dominant and not driving often and so on and so forth. He's just...nothing like them.)

David does have a counterpart.

My imaginary friend, and he (yes he) has been around for as long as I can remember, is someone who does in fact act as my reason. I tend not to talk to him as much anymore, mostly because a lot of the feedback he used to give me, my mes tend to converse between each other to give instead.

But in spite of that. There are times where my mes basically all go silent...and instead, I have just my driving-me and him talking to one another. And he calls me his friend, as I do him. He was one of my first friends, and remains a friend. I know what he looks like (short brown hair and otherwise looking like me and basically mirroring my appearance as I age in that he has aged right along side with me), and he is often there to just.

Basically, he tells me what I already know, but instead of being the voice of negativity and base instinct like David is, he's the voice of positivity, always reinforcing me and reassuring me. I knew from basically the moment I began to interact with him that he was the stereotypical "imaginary friend" which kids often have and which they outgrew.

And yet if he's an imaginary friend, I didn't outgrow him because he's still around and doing exactly the same things he always has done. The strange thing about him is that unlike David whose most clear thing about him is that his name is in fact David, this positive friend inside me, the entity, has never had a name. Well, I have tried to name him, but it's like he has a real name, he's not sharing it with me, and he just accepts whatever moniker I happen to give him.

I don't know why he's that way. I feel like he has a name, but I don't know it in spite of having been his friend for so long. No matter what, the feeling of me giving him names yet none being him remains. The most recent is Brian, but previous ones include Crivon (a name I owe from the Bleach knockoff) and Ace among numerous others.

I just talk with him, we bounce back ideas, finish each others' sentences, and converse, on whatever topic. Most of the time when we talk these days, it is primarily a conversation which goes "Sorry I haven't been talking much with you these days". Which he is fine with, because like David he's always there even if he's not speaking up.

He does occasionally talk side-by-side with David, too. He counters David when David takes things a bit too far, offering me a counterbalance when I can't really defend myself. He's basically just...a good friend, one who has all the dynamics of a long-time friend, yet one who is in my head. And is of the same nature of entity-hood as David: not a me. Not part of the Bree core.

Not a transwoman, not a girl, not me-me. Part of my brain, but not part of my mind. I kinda have a bit of a theory when it comes to interacting with him and David. I think that in those moments, the many mes temporarily merge into one me, unified if only for the duration of the conversation, and then once it ends, once David/my friend are dismissed, I again divide into the many mes.

That is a thing, by the way, with median systems, to my understanding. From what I heard, it is possible for medians to merge together permanently, yet also possible for them to split apart permanently, depending on circumstances. Yet a more temporary version does happen commonly enough.

There are moments where, for instance. I know I am neither mastina nor Ranger yet I'm not some third me...but rather, both Ranger and mastina, at the same exact moment, in equal parts. Not one driving with the other very close to the surface (I do that, too, quite often), but literally fused, merged together into a single entity...for a short while, a very short duration, which then splits off again and I can tell I am Ranger or I am mastina and that the other is right there in the background, not driving but around, existing, as a separate me.

Basically, mes are highly fluent. I'm still not sure about all of the specifics here. This is still a very new thing for me to experience and explore. I do know my feelings on the matter though. I know that I am me. That this is real. That there is more than me, that there are many mes. That there is no single entity that is Bree, that we are all partially Bree with a core that we draw from, and from that core we are connected to one another.

I know that I have no desire to see the many mes go away. I don't want to be unified. I know that I am not deranged. I know I am not delusional. I know I am not mentally unwell. I'm different. I am...very, very, very different. I know that I am largely unique. I know what some of the mes feel.

It is pretty much that. That we have some unity, but are split. That we are one but many. Bree, but each with something unique. Separate, able to have different thoughts, feelings, emotions, memories, yet united. I know people don't believe me when I talk about these things.

That's one of the reasons why I only talk about them in private for the most part. That very specific environment I mentioned to talk about these things? The one where it's not public and requires a lead-in of a particular nature? That'd be a large portion of the reason why.

It's not even a thing which I really feel that comfortable talking about in private, even. I'm having a REALLY hard time finding the right words to describe that. I am trying, but even the closest ones I can come up with are way, way, way off, and send the incredibly wrong message. 

So word of caution on me trying to explain.

I don't mean these words, but some different words that I can't find. The reason I tend not to talk about it even in private amongst people who know is because it's enjoyable for me for me to...hmm. I guess you can say. Think of it as watching a film--you shut most of your mind off during that time, yes? Well when I interact with people. I do that. It's a time where most mes can sit back, do nothing, and relax.

And when I talk about the multiple mes, instead of them relaxing, they are there. So that's why I don't talk about it that often. It's something which is not suited for public because of how the public reacts to it, yet it's something which in private I tend to...well. Sometimes, yes I do think and yes I do share, but other times I don't because the other mes are taking their time to rest and relax.

I wish I could make this be sensible, make sense, but I can't really word better.

But I'll start with some new stuff as of today.

For the Rubyverse, I was working on the vampiric martial art some more.

I'm not sure if I had a name in mind for the vampiric martial art before, but now I do. I was thinking the English name for it would be "Moving Tree". I decided on that name for a variety of reasons. The idea behind it is that the user has their roots firmly planted in the ground--the martial art is not one which really involves jumping. It is furthermore one which involves being solidly positioned on the ground, such that nothing fazes the user.

In fact, the implication is also meant to be that the user is as tough as wood, with a hardened body.

And yet, there is also a fluidity in movement inherent in the martial art, the softer, flowing elements as if a tree is being blown by a gentle breeze. These sharp, crisp movements direct things, and can lash out with incredible precision and power.

Plus, there is the fact that branches can be, when sharpened enough, used as if spears--with the implication of impaling enemies upon the 'branches'. (Which in this case would be hands.)

There's more to it than that, but another one of the main reasons I chose that as the name is because it had the aesthetic of a name which sounded like it was plausibly a martial arts name to use. Yes, I haven't done the requisite research on Chinese martial arts that I wanted to, to get a better idea, but I DO know that quite a number of martial arts take HUGE cues from nature in their naming schemes.

And the idea of a tree which moves seems like it is something that could, quite plausibly, come from that culture. (Especially given that one of the traditional Chinese elements is Wood.)

Will I remember to call the vampiric martial art the Moving Tree martial art? Probably not! After all, it's possible this isn't the first name I've given the martial art, it's just the name I came up for it today.

Still, I feel that if nothing else this is a promising name. I'll need to find out what the best non-English name would be, because the non-English name would be the OFFICIAL name for the vampiric martial art, with "Moving Tree" just being the translated-into-English name for said martial art.

Beyond that, I also developed another new technique.
So the knife-guard's signature technique is the impale, from which the impaler stance derives its name; it is also the signature move of the martial art as a whole. While all four of the founding masters of the style were involved in every step of the process, the knife-guard was primarily co-developed by (who else?) both Tepes Lords.

The tri-guard's signature technique is the typhoon strike; while all founding four masters were involved, it was most heavily developed by Victor Wu.

And today, I developed the Claw-guard's signature technique:
Kneading/Purring.

What it is, is basically an existing martial art move in more flowing styles/forms, a circular motion.

The back hand rotates either above or below the front hand, and the front hand rotates either below or above the front hand.

When the front hand goes below the back hand/the back hand goes above the front hand, it is called Kneading; when the front hand goes above the back hand/the back hand goes below the front hand, it is called Purring.
These names originate from how, if you slow the motion down and slightly exaggerate it, what the fingers resemble.

The motion of the hands in Kneading looks a lot like a cat kneading, when slowed down. (At full speed, it's more like a scratch.) The potion of the hands in Purring bends the wrist in such a way that one hand comes back almost to the jaw, in a position which is stereotypically associated with the position you'd see paws placed in on a cat which is purring.

Now, Kneading/Purring can be done in a continuous cycle, where you make a full circle. Backhand to front to back, rotating clockwise or counterclockwise continuously, which is considered continuous kneading/purring. However, far more common is to switch between the two: instantly do a knead/purr, and then snap back with a purr/knead. 

So I'm not quite sure I'm explaining this motion as well as I should.

Basically, know how claw guard is essentially just knife guard except with a curled hand with the fingers apart? Well, it starts with the forward-hand in front, as per the norm for the martial art, and the back-hand in the back, obviously. But the motion snaps the back hand into the front and the front hand into the back.

This can be done in a static position, but is designed to synergize well with moving between the back/defensive stance and the forward/attack stance of the impaler stance. This is also one of the best defensive moves in the arsenal of the martial art, meant to give a continuously rotating guard--in theory, making it much harder to exploit vulnerabilities in defenses.

In all other aspects of the vampiric martial art, unless the hands are involved actively in either a strike, block, or grab or some sort, they remain static. They are locked more or less in a single position, where they rest. Now! Said position happens to be a smart position, one where they can easily in a split second snap a block/strike/etc. out. But the fact remains that an opponent can, if given the chance, see potential weaknesses in the defense because the defense never changes its base position.

This isn't just a vampiric martial art thing. I know from experience in sparring for my tae kwon do that the arms in the guard? Unless they are punching or blocking, they don't tend to move. The legs? They move a plenty. But the arms have more or less a single fixed position, a single 'optimized guard position', where with minimal movement a block/strike can be made.

And I don't think it's just my school.

I think this exists in almost all martial arts. I know they're not the best example, but like. In basically any movie featuring martial arts where the fighting is choreographed in such a way that you can see the fighters have a guard in the first place. The guard doesn't move when not striking/blocking/grappling. It just sits in one position.

It also is there in game animations, too, for the most part. Sprites are animated where the knees bend, the hips bend, there is forward and backward movement where the spine more or less is moving forward and backward. You know the like, it's something you see all the time. Yet when not performing either a block or a strike or a grapple, how often are the sprites' arms actually fluidly moving?

I mean, sure, it happens, but it doesn't happen often. Maybe it's wasted effort, or maybe there's the fear that the movement creates a vulnerability, maybe there's a reason for it. But I also believe that there's a reason why not every martial art does this, why some do have the arm movement I'm more or less talking about--

After all. There are existing forms where the arms move in more or less the way I am talking about. (In fact, I know at least one form from tae kwon do which uses the basic movement I am dubbing in my martial art kneading/purring.)

So I think that, mechanically, it can work as a way to more or less serve to theoretically make it much harder to exploit gaps in defense. And, yes. The movement behind kneading/purring is such that both arms are fully capable of blocking and striking at any moment.

In fact, half the reason to use this is to launch an unexpected attack, most likely a palm strike. Because the rotation is done continuously, and because it only takes ever so slightest the modification of movement to turn the simple rotation into a strike, a blow can be delivered with no warning by using this method.

At least. In theory. I have tested the body mechanics and the idea is at least theoretically sound. It acts pretty much as the counterpart to an existing thing from fighting.

In sparring, already. Your feet aren't meant to be static. They are springy. Bouncy. They have ever so slightest the continuous movement between one another. To allow for the ability to move forward, backward, sideways, in an instant, to react to being hit, and to surprise an opponent by 'invisible movement'. A move with the feet to close distance without revealing you're closing distance, or a kick without revealing you're throwing a kick.

It's a very tae kwon do type thing, but I imagine quite common even outside of it. You move the feet continuously so that your opponent never knows what you are planning to do next, and so that you can always be ready for what your opponent does next.

Kneading/purring, as I envision it, is basically doing the same thing the legs do, except with the hands. Especially since it can rotate two different directions, attacks can come from any number of different locations/times, without warning that there is any deviation from the pattern.

And yes. If you couldn't tell. It was indeed developed primarily by Lord Darkblood, and thus, is the style Ruby adapts for use in Red Hood Rider.

That's the main thing I'll be blogging about today, but I also thought it worth mentioning a dream I had last night.
The dream was almost nested, as a dream within a dream. Almost. It was a situation where I was involved in an event and thought I was more or less on break from a different event (a different dream). In the event I was involved in, I was watching television.

On that television, there was a kids cartoon show playing. Now, I don't remember if this was a real cartoon show, a fictional cartoon show, multiple real cartoon shows meshed up, or some combination of these, but what I do remember quite clearly was, within that cartoon show, there was dialog within that I listened to and memorized. (Unfortunately, I promptly forgot what said dialog was upon awakening.)

I was immensely reassured, and told my companion in the dream: "That's exactly the type of dialog that I use in Phyrra and Cyrus!" So basically. At least inside my dream. The dialog of Phyrra and Cyrus comes across as being natural, as being standard for a kids cartoon show, being just as good if not better than the material of other shows circulating in the contemporary market.

Of course, this is a dream we are talking about.

Butstill.

In spite of that.

Upon waking up.

The reassurance remains. Because I do tend to trust my dreams a lot. Phyrra and Cyrus was born from a dream, and this dream was indirectly telling me I feel, "You are on the right track. Don't second-guess your choices in terms of the dialog and what you want the characters to be. You are making something which is of quality."

​And I want to believe in that.

Well, I suppose by saying I am doing some spring cleaning of sorts. I'm moving every piece of paper which I know is 100% obsolete to an appropriate location; I am moving things which are potentially appropriate elsewhere to those locations; I am cleaning up my notes more or less.

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.
Still!

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...
Erin: AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA
*Erin faints*
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. 

Now.
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)
-Slotting (Cost/Type/Number)
Among others.

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.

SIX sins.

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.

You'd THINK that'd be because of the bracelet, but no. It's actually probably because we're coming up on her birthday. March 17th, 2015 was the first mention of what would become Ruby. It was a Tuesday.

March 19th expanded her. And then other entries throughout March further built her into an entity.

I decided last year (or was it 2016?) what her official anniversary was, but I can't recall what and I can't track it down. Still. Her birthday is around this time. I don't know when, exactly, I'm meant to celebrate it...but it is soon.

Today, the subject came up in my mind of characters' parents and to a lesser extent, family.
Ruby's parents are featured albeit as minor characters. She does have siblings, too.

Sally's an orphan since her parents were killed in a vampire attack on the homeless shelter; her older sister died the day Sally's powers awakened.

Gary's parents are millionaires, with the caveat that's lower-millions, sub-$10,000,000, but still technically millionaires, plural. He is an only child.

Hannah, like Sally, is an orphan.

Amy is Ruby's daughter, so her lineage is obvious enough.

Dale, as a vampire who is literally like a thousand years old technically had parents but suffice to say it's not something story-relevant given they are centuries deceased.

...But that's still four members of the Ruby Gang's ten fighters that I didn't have the family of locked down.

Harold/Herald (who's he? I realize it's easy to forget about him given that as the Team Normal his badassery is something not often advertised but he is a member proper of the team who is not a joke and is an actual, serious, real combatant that actually makes up the main muscle of the team) is old enough to be the father of a teenaged child. He's not; he's single, but he has a sibling that has a daughter, and said niece is teenaged in years, so he's around that age.

As a result, it can be safely stated his family's not really that important. His niece is in training to take up the family business. His sibling isn't retired per se but is on an extended vacation for the duration of the time raising their child(ren) to adulthood. His parents are of the age where they easily could be retirees...but since Hunters tend to be spry for their age, most likely, his parents are off being Hunters in British Columbia--somewhere kinda sorta close by, but not really story relevant.

Whitney is slightly older than the other riders, and I just remembered that her family is accounted for since her family owns a bar.

...Still, however.
That left D.D. and Vili unaccounted for when it came to family.

Today I managed to work out a character, who I decided fitted perfectly as being her father.

His name: Thomas, AKA, "Tank". He's a street fighter, and basically immune to anything not explicitly magical/supernatural in that no human has ever managed to actually beat him in a fight; he remains undefeated.

This is because his moniker of Tank is appropriate--people think of Tanks as basically a "moving fortress": something incredibly well-armored such that it is nigh-impregnable, often with heavy weaponry, but which is slow to move and lacks maneuverability.

...He is not that kind of Tank. He is a modern Tank. Which still has the armor to be nigh-impregnable and the heavy firepower to unleash punishment...but also is fast and maneuverable. The TVTropes term for this would be "Lightning Bruiser", and given Vili's element, it seemed an appropriate enough description for her father.

He's also a genius, at least in term of street smarts/combat sense, in that he knows exactly what to do. He is well-trained and uses good technique and recognizes sloppy technique; he is the one who trained Vili how to fight in the first place and still acts as her trainer to this day because he can critique all her numerous imperfections. (Namely, "stop letting your powers do the fighting! I am a skilled fighter even without my build!")

It'd be a little bit of a challenge to draw him though. He's meant to have an impressive girth: to have an outer layer which is filled with fat. This fat weighs him down a lot and acts as a shock absorber allowing him to absorb impacts from blows, but underneath the fat, there is enough muscle such that he isn't encumbered by the fat. He, essentially, quite literally: knows how to throw his weight around. His muscle + fat creates a lot of mass behind his strikes, and he is nimble enough to deliver one after another after another after another.

It's also not possible to throw him off-balance, to tip him over, or anything like that; he is just...built in a way where he is able to hold himself. And yes. He can even jump. And when he lands from the jump, that too carries a disproportionately large impact.

...You would think that someone like this would be impossible, but I'm actually modeling the idea for him off of an actual guy I know from tae kwon do who is often described as essentially "fighting a freight train". If he had the mental faculties (his main weakness is that he hesitates and that he thinks too much more or less, overthinking things which slows him down) to match his physical capabilities, he would dominate literally every fight because no matter what strike or kick I throw at him he isn't phased and he hits with incredible force and I've seen him combo strikes with speed when not dealing with the thought behind it.

...Now admittedly. I am also taking some cues from some fictional fighters, e.g. The Blob (X Men), Po (Kung Fu Panda). But the idea is not as ludicrous as it sounds. You can both be incredibly strong and yet incredibly full of blubber, capable of tanking any blow because you absorb it, and yet dishing it out with both speed and strength of unbelievable amounts in spite of (or rather BECAUSE OF) the fat which people'd expect to be a hindrance.

So I swear. The guy I am envisioning is in fact not something which is too outside the realm of reality; he is someone who very easily could exist and I imagine somewhere in our world actually does. I'm that confident it's possible. To have a build which is basically immune to typical redirection strategies, immune to being knocked off-balance, immune to punches/kicks, and yet is fast and strong. With the mindset of a fighter, such a person would be a force to reckon with.

And this is the guy I picture as being Vili's father. I imagine him as being much the same as her: a combat-loving guy, mostly laid back, but strict when it comes to combat to the point of being almost militaristic, and being incredibly disappointed when his daughter slacks off.

Anyway, I still owe you the rambles I promised over half a week ago, but given that I am past my bedtime already (this ramble took me ten times longer to type than I thought), I should be going to bed.

It was pretty fun but I'm not really able to describe the day.
One of the many highlights, though, was a martial arts demo, which was mostly focused around some Chinese-based martial arts. (It did have Korean as a secondary and Japanese as a tertiary focus since the school does styles from all three, but Chinese was the main one.)

You may note, that's where my vampiric martial art is meant to take a great deal of inspiration from.

Looking at the demoed forms, I realized that claws were missing from my strikes, and that I also haven't worked much with dealing in being much, much lower to the ground (in like a crouch essentially), and that my grapple work could use some greater definition, among other things.

So I thought it good in that sense, in that I now have some more ideas for what the martial art would entail--details which I get to actually SEE, rather than just hear like wikipedia descriptions of with potential pictures strewn about. It's one thing to have it described; it's another to see it in action. I got the latter, so when I also get the former, I'll have things more clearly established.

​Was a very good day overall.

I still am! But instead of using that as an excuse to not write much of a blog, I'm using today as a chance to write an extensive blog entry! So extensive, in fact, that I'm estimating a timeframe of about four hours between typing and research to finish it, and that's with me not going into things in as much detail as I could. Start time is approximately 2:15 PM, so I'll let you know how close my four hour estimate is when I finish.

I suppose I'll start with the mundane: remedies.

So background.

At work, we have free coffee, before noon more or less.

I make extensive use of this.

I can drink my coffee any way. Sugar and cream, sugar alone, cream alone (this is my preferred), or even black. (I don't really see what's the reason not to do it, but I tend not to simply because I like the flavor creamer adds plus creamer cools the coffee faster.)

When I am feeling myself be dangerously low on nutrients--and this is, unsurprisingly, happening more and more often at work--I have taken to adding sugar to the coffee. I'm pretty sure the sugar I want is real sugar and not sweetener. I'm pretty sure my work has the real sugar (it'd be the white ones), and I know absolutely for sure it has sweetener (between the pink/yellow/blue ones, I know at least one or two are sweeteners and I think all three are).

Still, just in case, I add both to the coffee, such that I have an emergency supply of energy. Is it healthy, heck no. Does it even help me? Probably not much! But it's better than nothing for someone who is hopelessly eternally underweight. (One good thing I have to look forward to when I eventually live with my girlfriend is that problem won't be allowed to stand. Long story there but that's not something to tell on a public blog.)

However, I still prefer not to use it.

That having been said, it has become necessary for a formula.

Since being sick, I've been adding tea to my drink. I let the drink sit for 20 minutes (off the stand, with coffee) or 30 minutes (on the stand, with hot water), alternating between the two as I change positions and thus averaging two drinks per hour.

This I can only conclude has one of two acceptable names: 'cofftea' and 'abomination'. Because I imagine the one and only thing coffee purists and tea purists have in common is that they believe you should never mix the two, and yet I freely do so.

The formula changes day to day, but by the end of the day it's usually about the same:
Five tea bags (in a tiny 8-10 ounce cup, mind you) already at the bottom and thoroughly soaked. Add 50-60% coffee, preferably not decaf but I'll use decaf if regular's not available. As the tea diminishes with repeated doses, so too does the amount of sugar I add, from 4-5 (initial) down to 2-3 (final) by the end of the day sugar packs, with a near-equal but slightly less number of sweeteners (3-5 initial, down to 2-3 final).

Then I fill it most of the way to the top with the creamer. I can't confirm, but I believe my workplace uses half-and-half creamer, whatever that entails. The final bit I add is a top-off of hot water. Now, mind you, the drink is already heated because coffee is kept warm/hot especially when freshly brewed about once an hour (I get the fresh brew a good half of the time as one of the first people to have it, and then the stale brew as one of the last to have it the other half of the time), but the water seems to help balance the flavors out.

I add a wooden stick to stir, and I imagine the wooden stick actually adds flavor of its own because I leave it in (in no small part because half of the time it gets tangled in the tea strings).

I drink that, then add hot water, then rotate onto the guard stand, when off drink the hot water brew, and repeat the process. The tea I use is whatever's available, which seems to differ from time to time. (So does the sugar by the way. And for that matter, sometimes the creamer, though the creamer's mostly consistent.) Some are marked as caffeine-free.

When given the choice I normally stay away from those and stick with the ones without such a label since I assume a lack of a caffeine-free label indicates there's caffeine within and usually caffeine is half the point. Right now I'm having tea because I'm sick. But were I to have cofftea outside of being sick, it'd be because there's no regular coffee, decaf coffee is available, but so too is a non-caffeine-free tea bag available.

...Okay so the wording there's confusing. But basically. Outside of sickness, I use cofftea when I need a caffeine fix and the only coffee available is decaf. So that's one--maybe two--teabags. But when I'm sick. And I'm frustrated with being sick. I start to get desperate.

I don't even know if tea actually helps with a cold. And if it does, I don't even know if the tea that I take helps with a cold. And if it does, I don't even know if the way I make the tea is effective at producing the results I want. But if nothing else it is a rather effective placebo, especially today.

Today, I had one teabag which was some Dandelion Root thing, labeled as a 'Traditional Medicinals' and also as naturally caffeine free. Also present: Chamomile Herbal Tea (caffeine free), Peppermint Herbal Tea (caffeine free), Earl Grey Black Tea, and English Breakfast Black Tea.

Even using more sugar than I normally did.

What I can say about it is...

...It tasted. And I kid you not. It tasted exactly like cough medicine. And in fact. It wouldn't surprise me if its effect was exactly the same as cough medicine. It tasted terrible...but the bad taste might've been justified by how it actually WORKED, moreso than this tea trick I've been using has been previously.

Rather, for about an hour, my cold symptoms actually seemed to worsen rather than improve when I first began, but when I kept going...they vanished almost altogether, clearing things up in a way they hadn't ever been cleared up before. I even stopped having a runny nose! (Well for the most part.)

Now granted. I'm a firm believer in letting the body do its own thing. Coughing is meant to dislodge junk more or less. A sore throat is your immune system killing infected cells. A runny nose is forcefully expunging any material which could carry the disease. So having those things stop? Not necessarily actually a good thing.

Which is one reason why I stopped taking cough medicine and the furthest I was willing to go was to liberally make use of cough drops (I mean, I suspect that cough drops are essentially cough medicine distilled over time, but they feel like they aren't as potent).

More or less, if the disease the body is dealing with is a virus, then it's become my belief--mistaken or not--that there's no cure for it, no way to magically make it better, and that cough medicine can actually slow recovery down by slowing the body's fighting mechanisms from fighting the way they are inclined to fight, if that makes sense. (Basically, cough medicine doesn't cure the cause of the cold, just the symptom of it, and treating the symptom isn't a cure. It can make the cause last longer, and I want to avoid that.)

Of course, obviously, if the disease the body is dealing with is bacteria, different story altogether. I'm still not overly fond of antibiotics (among other reasons, they nuke the good along with the bad and I'm not the best at compensating with probiotics), but those are actually going to make a difference...provided of course that it is in fact a bacterial infection. (One other reason I'm not so fond of antibiotics is that using them against a virus is ineffective and even detrimental, and yet with this level of sickness symptoms differentiating between the two is difficult at best.)

So back to my point--I miiiiiiiiiiiiiiiiiiiiiight be making my own life more difficult if the tea did in fact act like cough medicine and suppress the symptoms which are part of the process in curing the cause, thus elongating the sickness...but at least I wasn't miserable during work and was able to function. I've found the tea remedy doesn't even last the whole day traditionally.

Either because it needs to be reapplied every hour or so or because the initial strongest dose wears off after about six hours (with five being the length of time I work), by the time I am home, usually I'm back to being my same ol' sick self again.

Still. I feel like sharing the experience all the same. If for no other reason than to make people who are actually knowledgeable cringe in absolute horror at my ignorance.

Anyway! What else have I worked on? 

Let's start with the Rubyverse.
I'm inventing my own martial art, the vampiric martial art featuring the Impaler Stance, as it's called.

However, I've developed it further. I meant to blog about this back on the eighth but didn't get around to it.

Still, since then I've begun developing the martial art behind the Impaler Stance.

First off: note that I haven't done my research. I'd want to research Chinese style martial arts (of which there are plenty) to get a feel for the general aesthetic behind them be it soft, hard, or hybrid between the two. (The vampiric martial art is in some ways incredibly soft, and yet in other very specific ways, incredibly hard, styled martial arts.)

A basic lore behind the vampiric martial art (which I need to name; I'll name it when I research Chinese martial arts and get a good idea for what kind of name it'd be) is that it was developed by two notable vampires with the aid of two other overseers: Lord Darkblood (the vampire responsible for Ruby as she is in the story and whose position she inherited when he was vaporized by her awakening) and Lord Tepes(/Tepez? Too lazy to look up which would be the technically correct spelling but this is quite literally Dracula) as the overseers, with the ones being:
-Lina Tepes (Dracula's daughter)
-And Victor Wu. 

Victor Wu is the current vampire Lord of the dieing Wu coven, which is a vampire coven that has a basis largely in Asia and yes...quite prominently, China. This specific martial art was developed ~1,000 years ago back when Lina and Victor were both reasonably young (thus the need for overseers) and still within human lifespans even.

I deliberately go out of my way to avoid going into too many specifics behind the Wu coven (it's honestly not something I want to take the time to properly delve into for the sake of Red Hood Rider even though the Wu coven is historically speaking one of the most important covens in the Rubyverse), but Victor Wu when developing the vampiric martial art which the impaler stance is derived from did have Chinese martial arts of the time as an inspiration.

I'd also research European Martial Arts of the time but...I honestly wouldn't know where to begin? Like. In the year of like 1,000 AD. In Europe. There was I'm sure some form of trained unarmed combat which we would in the modern world deem a martial art, but like. I've never even heard of any? I know of plenty of armed warfare methods. Even gladiatorial combat. Dueling, too.

But those are still with weapons. I can tell you how a gladiator fought; I can tell you how a duel would be fought (well, maybe), I can tell you how various different armies throughout Europe fought from Ancient Egypt up through early gunpowder usage pretty well (albeit not perfectly). But while it's all nice and good to know how a knight in shining armor swung his sword (it's not nearly as impressive as the movies make it out to be).

...How did they actually have an unarmed fight, often to the death? In the Eastern cultures, those martial arts are extensively recorded even going back a thousand years. So we know why they did it, how they did it, when they did it, and so on and so forth.

In Western cultures, sure. Things we can call Martial Arts were developed eventually. Pugilism. Boxing. It's half-new-world, but sure let's include Capoeira too. (I'm naming examples from the top of my head if you couldn't tell.) The likes of those, later on, we know how they formed, where they formed, and so on and so forth.

​Apparently, by a quick skim of what the wikipedia article I pulled up says, in the time period I am aiming for, the records...simply...don't exist. The earliest they come in is the 1300s, and I am aiming for literally 200-300 years before that. (Of course, this is assuming Dracula is older than Vladimir Tepes III, which I think is part of my established mythos; my job becomes a little bit easier if I am mistaken about that and Dracula was born in 1428/1431.)

Still!

What I'm getting at is that Lina Tepes, one of the developers of the style, had that European background. I decided that for the sake of simplicity the following:
The vampiric martial art would have English names for everything of course, but also have names for everything that were either Chinese (probably Mandarin) or Latin. Because the Wu coven has that Chinese flair, and because I figured that Latin was a bit of a universal language of sorts especially for nobility and it has...well, it kinda has the flair of the supernatural around it. (There's a reason Ominous Latin Chanting is a trope.)

So with that settled. All names are subject to change.

But basically.

The vampiric martial art has six stances I've developed. Three fall under the same branch, the backbone of the martial art, and would be considered part of the impaler stance (the impaler stance is mostly thought of as being the 'attack'/forward position of the three though, because vampires have far less need for defense).

If you think of facing forward as being 0 degrees, and perpendicular to that as 90 degrees, then the three backbone stances, core stances of the vampiric martial art, work as so. (They all have the exact same footwork, just with differing weight distributions.)

The front leg is anywhere from 0-30 degrees: mostly straight, but okay to have a slight curve to it.
The back leg is anywhere from 95-40 degrees: mostly facing to the side, but okay to be facing more to the front.
The idea is to more or less minimize the front profile as much as possible, hide the movement of the back (where the power mostly comes from), and essentially allow for the maximization of efficient, powerful movements.

Another benefit: when done properly, you can shift between all three different stances in the blink of the eye, making a switch between offense and defense happen at lightning-fast speeds. (At least that's the idea.)

Weight distribution is one of three ways, each a different stance: Loosely even distribution (~45-55%) with bent knees is the Even/Ready position: the user can launch forward, launch backward, switch, defend, attack, etc. with great ease, and without broadcasting their next move.

Weight more on the front (~55-95%) is Front/Attack/Traditional Impaler position: the body is naturally in a spot where it can launch an assault, comboing one attack after another.

Weight more on the back (~55-95%) is Back/Defend position: the body is naturally in a spot where it is difficult to knock the user off-balance (sweeping the front leg does nothing; sweeping the back leg is difficult), retreating is easy, and it's hard to connect a blow because the user is further away always.

Keep in mind: in none of these do you lean that way. Leaning back is a good way to get knocked over. Leaning forward is a good way to get stuck, get blinded, and the like. You remain upright the entire time.

The three stances I invented here take cues mostly from three stances that I know: fighting stance, cat stance, and back stance/karate fighting stance (my understanding of where it came from). Fighting stance is both feet at 30 degrees, loosely even weight distribution but slightly on the front (51-55%); back stance/karate fighting stance is both knees bent with the front leg pointed forward at 0 degrees and the back leg perpendicular at 90 degrees; cat stance is something which is a bit harder for me to describe, but it's one most people have a general idea for anyway since it's a favorite of martial arts flicks.

Mind you. That's not a direct correlation, where one equals another. All three of my stances take from all three of those stances. I have actually done some minor practice trial runs of the stances in real life, and I've found that they're incredibly easy to mess up/do wrong and incredibly easy for me to revert into my trained habits instead of what I'm aiming for (thus making a true test next-to-impossible), but initial results are still reasonably promising, in that when I pulled off what I was aiming for in my mind's eye of what the stances looked like, the results felt easy and practical to use which is exactly what I was going for.

There are three other stances, but these are mostly used in more formal environments as part of training: Neutral/Transition stance is when the feet are straight, make a V, and come together. Hands are often at the side in this position as a sign of respect.

In what I am dubbing the "Prepared" stance (because I named a different stance "Ready") is the stance which in other martial arts is the Ready stance. This is a pretty universal stance, and my usage of it differs very little from the norm. Feet loosely a shoulder width apart, hands in front at where the belt would be approximately (both open in this case, mostly straight but slightly curved), though differing from my style of tae kwon do (where they'd be facing straight) the feet continue the V pattern in that they are slightly turned outward.

The final stance I've developed is the logical extension of this: the Wide/Training/Drilling/Exercising stance, almost double shoulder width, feet in a V, and hands up in an open-handed guard. This is not a combat stance; it has no pragmatic value. It is however used for practicing precision on technique and for training strength and endurance.

With the stances developed, basic terminology time.

A fundamental part of the vampiric martial art I'm developing is the concept that one hand (usually the back hand) is the "Sword", and the other hand (usually the front hand) is the "Shield". When a Shield does a strike, it is called a 'bash'; when a sword does a strike, it is just called a strike.

Bashes typically have less power but are faster, because they come from the front and are closer to the target, but have less momentum and energy from the body backing them.

I've developed nine each (for a total of eighteen), though this is subject to expansion.

High Palm Bash is a combination of a Jab and a High Palm Heel Strike. The front hand strikes high.
High Palm Strike is a combination of a Cross(Punch) and a High Palm Strike. The back hand strikes high.
Low Palm Bash is a combination of a Sliding Punch and a Low Palm Heel Strike. The front hand strikes low.
Low Palm Strike is a combination of a Sliding Punch and a Low Palm Hell Strike. Just, the back hand strikes low.

Inward Chop Bash is an Inward Chop with the front hand.
Inward Chop Strike is an Inward Chop with the back hand.
Outward Chop Bash is an Outward Chop with the front hand.
Outward Chop Strike is an Outward Chop with the back hand. (May be weaker given body mechanics?)

Inward Ridge Bash is an Inward Ridge Hand Strike with the front hand.
Inward Ridge Strike is an Inward Ridge Hand Strike with the back hand (one of the few which is less powerful given body mechanics).
Outward Ridge Bash is an Outward Ridge Hand Strike with the front hand.
Outward Ridge Strike is an Outward Ridge Hand Strike with the back hand (also weaker given body mechanics).

Upperjab Bash is a combination of an Uppercut and an open-hand jab (fingers pointed straight), aimed at the throat, with the front hand.
Upperjab Strike is a combination of an Uppercut and an open-hand jab, aimed at the throat, with the back hand.

High Impale Bash is a combination of a Jab and an open-hand jab, aimed at the throat, with the front hand.
High Impale Strike, one of the titular naming moves of the Impaler stance albeit the less-used of the two, is a combination of a Cross and an open-hand jab, aimed at the throat, with the back hand.
Low Impale Bash is a combination of a Jab and an open-hand jab, aimed at the torso, with the front hand.
Low Impale Strike, the titular naming move of the impaler stance, is a combination of a Cross and an open-hand jab, aimed at the torso, with the back hand. It is the signature move of the style, where enough power is packed into a thrust to pierce through the target. (Keep in mind the fighters using this style are vampires. They have superhuman strength, which means their fingers will not bend or break; they will keep going through any target if trained enough.)

In non-impaler stances (Transition/Prepared/Wide), the default is to assign the right hand to be the 'front' hand, and the left hand to be the 'back' hand, and to appropriately assign them sword/shield designations.

When the front hand does a block, it is called a Block.
When the back hand does a block, it is called a Parry.

Blocks I haven't quite mapped out yet as extensively as I did strikes.
I know that knife-hand block is a staple and the default position for both hands; scissor blocks are common; crane blocks are featured; open-hand blocks are one of the core features when combined with the knife block.

I can tell you where hand positions are when in the impaler stances. The sword hand guards mostly the torso and below; the shield hand guards mostly the torso and above. Pragmatically, this means the back hand has the elbow somewhere between thigh and hip height (easily guarding the torso with minimal effort to guard the legs), and the front hand has the elbow at literally dead center of the chest (there's probably a name for it, but the spot where the ribs come together is where it is).

At least, that's how it looks more or less on my body, which admittedly has very long extremities with a comparatively-small torso. (My legs are one of the main reasons I'm 6'2"; my arms have the same long and stringy build that my legs do and thus are capable of reaching much further than normal.)

Everything I do is obviously an estimate, because I only have my own body as an experimental guinea pig.

Still. I've covered stances, blocks, and strikes; that leaves kicks.
Kicks are done in one of two stances: Attack or Defend positions. Never the other four. (I suppose you could get away with it in Neutral/Transition.) When in the Attack position, you're going to be using back leg kicks since your weight's on the front leg; when in the Defend position, you're going to be using front leg kicks since your weight's on the back leg.

Keep in mind, once again, that a master of the impaler stance(s) is switching between all three at a rate fast enough such that it's impossible to just go "oh, weight's on the back, better guard from a front leg attack".

Back leg kicks when in front stance are mostly the torso and below: front kick (mostly push), round-house kick, inward crescent (no real outward crescent though it's possible), leg sweeps, and the occasional but rare heel rake. There's one more kick which can be done with a fair amount of ease, and it is the power kick of the style: the turn/back kick. Since the body is already turned half of the way, it's just a simple 70-100 degree rotation and BAM.

This has the obvious downside of leaving even the most skilled of fighters vulnerable when they turn their back to their opponent, but it has a huge payoff if it succeeds. It flows best with a series of Bashes/Blocks thrown and the sword hand more or less 'sheathed' in its guard position (so not having it out doing something which will rob the spin of momentum).

Front leg kicks can be done below the torso, but with the exception of a sweep, they are mostly done torso and above. The front leg kicks are the front kick, round-house kick, crescent kick (mostly inward), ax, the occasional heel rake, and the occasional side-kick. Said side-kick is more of a push-kick (same as the back leg's front-kick), in that it's not turning over far enough to have real power behind it (you're not gonna stun them with it in the impaler stance), but it's a good way to force an opponent back.

Like I said. Preliminary tests of body mechanics indicate that when I do it the way I actually pictured myself doing it, everything works as a viable, pragmatic fighting style. You have hard blocks to break the opponent's offense. You have soft blocks to latch onto the opponent. You have open-hand strikes, from the front to give an initial stunner, and from the back to deliver the power.

You can kick, but kicks come secondary to the focus on the hands and basically, maximizing mostly an efficient, effortless defense which in the drop of a hair can switch to a focused, precise, deadly offense, delivering swift, decisive blows.

That's the idea anyway.

The next steps for me are to deliver some levels of consistency and to also start developing forms, which I'm in the preliminary steps of doing. (I suppose I also need self-defenses and one-steps, but those come later I'd think.)

My goal, if you hadn't noticed.
Isn't just to develop a fictional martial art used in the Rubyverse by vampires.

I mean.
That's how it started, alright.

But.

My goal here is to develop a martial art I've invented which would actually without supernatural powers be at least something resembling pragmatic in real life. It's something I've wanted to maybe talk to my tae kwon do instructor about; they probably would think it's one of the most amazing breakthroughs in my development as a martial artist, but it's possible I'm doing things wrongly enough that I could get a stern word from them or something to that effect.

​...And as we approach five.

Hahaha.

Four hours? I was being optimistic. Believe it or not, the Rubyverse bit about martial arts I just detailed was meant to be the sidenote of the ramble. SIDE. NOTE. As in, compared to the whole, a small fraction of it. I certainly know it's a fraction of the effort, given that I am deliberately not bothering to do my research on the Chinese martial arts right now. (Wanting to do that is one of the reasons the original ramble got delayed I believe.)

The thing which takes up the most amount of time?

​Once more, The Perfect RPG.

Let's start with a few things regarding the confrontation with the guest party member I mentioned before. Well, there's four endings possible: default ending of not being a dick, being a bit of a dick, being a complete and total dick, and surpassing dickhood into just flat-out monstrous. These are in fact appropriately reflected in the endings, actually.

There are many. Many. Many. Many many many many MANY endings for the game. Dozens of variations on them in fact. But primary endings can be divided into: Absolute Perfect, Perfect, Good (this is the standard; the typical average player will get this ending or variants of it and there are the most classified as this type), Okay (this is the best possible ending you can get by killing the guest character once), Poor (this is the best possible ending you can get by killing the guest character and leaving him dead), and Bad (this is the only ending you can get by killing the guest character until you can't kill him anymore because he suicides).

Absolute Perfect is achieved by getting literally every single quest in the game completed. Note this doesn't require getting 100% Completion, but it does require a few RIDICULOUSLY obscure things, like the occasional precise party composition for precise times and doing things in precise order, but this is not out of the standard for an RPG.

Though no single Absolute Perfect ending is considered canonical, *an* Absolute Perfect ending is, canonically, how the game ends. The Adventure Continues, and continues in the best way possible.

Perfect is achieved by getting all regular sidequests and easily-accessed (that being, non-obscure ones which are reasonably easy to deduce if not outright explicit) sidequests completed. The Adventure Continues...in search of a way for it to continue in the best way possible.

Good is achieved just by not being a total dick. Many characters settle down, though for some adventure calls.

Okay is achieved if you were a bit of a dick. Many characters settle down, and the ending is bittersweet, but happy.

Poor is achieved by being a dick. Characters promise to keep in touch, and things are mostly the same as in Okay, but there is a dark implication that the protagonist will become a villain.

Bad is when you're just a monster. Characters part ways, permanently. Things are more explicit than in Poor: the protagonist has a conversation where he explicitly accepts becoming a villain.

By the way, in that Poor ending...you are reminded once again. It was not just the game mechanics telling you not to do what you did. The game mechanics with the 3-5 warning screens were explicit enough...but even prior to that, the story explicitly features a scene where a villain warns the protagonist, "You need to let go". And that if the protagonist doesn't, that they'll end up becoming the villain.

In Good or better, the protagonist let go.
In Okay, the protagonist didn't let go initially when he should have, but rebuffs the idea of villainy in the epilogue, indicating character growth and that he has reached a point where he can let go.
In both the poor/bad endings, the protagonist hasn't let go still, which leads to a dark ending......

Incidentally, from a certain point of view, those can be thought of as canonical...in an alternate timeline. They're not canonical in the game proper, rather explicitly.

There's more content surrounding the Let Him Go choice, by the way.

When you kill the guest character, you are presented with a screen with his corpse. Examining it will have the following dialog:
"The corpse of your fallen friend, Name."
There will be four options available:
Revive (Uses 1 *revive item* or *MP necessary to cast a revive spell if protagonist character has one available*)
Loot
Desecrate Corpse
Leave

If you leave, it disengages, but you're still on the screen. You have to manually leave the body there. (And eventually you will no matter what if you're going for either the Poor or Bad endings.)
If you revive, it will revive him. He'll go into a dialog with you, unless it's your third revive, in which case you go straight into battle.
If you try to loot, you are given the following message:
"Weren't you paying attention? He gave you everything he had; the only thing he didn't return was his body."

I'll explain the desecrate corpse option soon enough.

If you have revived him ten times, then he suicides, you're still left with the corpse that you can interact with. However, the dialog box changes:
"The eviscerated corpse of your fallen friend, Name, torn to shreds badly enough that it cannot be revived."
Revive (grayed out and with strike text through it, debolded)
Loot
Desecrate Corpse
Leave

Loot and Leave are the same.

If you select Desecrate Corpse, regardless of whether the body is eviscerated or not, the screen will fade to black, and then reopen, once more showing the corpse. If you interact with it, you're given an altered dialog box:
"The desecrated corpse of your fallen friend, Name."
No revive option will display.
You have the options then of:
Loot
Leave

If you desecrated an eviscerated corpse, the dialog is much as you'd expect:
"The desecrated and eviscerated corpse of your fallen friend, Name, torn to shreds badly enough that it cannot be revived."
Loot
Leave

...And as you may have guessed.
You can in fact at this point.
Loot the corpse.

The items you receive from doing so have pros and cons both ways between being regular and key.
Regular:
PROS:
-Eternal Shame, permanently marking your inventory for being what you are.

CONS:
-Takes at least three playthroughs to get a 100% completion rating.
-Could miss them depending on inventory space.

Key:
PROS:
-By having the items removed from your inventory at the end of the game, it means everything you did was for nothing. You got nothing by doing it. You didn't earn anything. It was pointless to have done. It was something absolutely with no gain whatsoever.
-Guaranteed to always have inventory room for them (since key items have a special screen which takes no inventory).

CONS:
-It erases the evidence of the old shame.

Overall I lean towards key, because that fits the theme I have going for the storyline better.

The items you receive are the following:

Human Hair 
Item description: "A trophy for your treachery." (Implication being you scalped him.)

Human Brain
Item description: "If you added this to your own, it might mean you wouldn't be so stupid. Unless of course you did this deliberately, in which case you're just plain evil."

Human Eyes
Item description: "Well I guess he won't see no evil anymore."

Human Ears
Item description: "Well I guess he won't hear no evil anymore."

Human Nose
Item description: "You're despicable."

Human Tongue
Item description: "Well I guess he won't speak no evil anymore."

Human Heart
Item description: "Knowing you, probably carved out with a spoon."

Human Lungs
Item description: "Seriously, what is wrong with you?"

Human Organs
Item description: "If this is music to your ears, then you are beyond all hope."

Human Jewels
Item description: "No, seriously. You. have. Issues."

A note from the game developer
Item description: "It reads: 'You sicko'."

The only difference that the eviscerated corpse gives?

The note from the game developer has its description change:
A note from the game developer
Item description: "It reads: 'You absolute sicko'."

...Yeahhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh.

When he said that you should be called a villain for doing what you do to get those things.
He meant it.

To sum it up.
The game would make it abundantly clear.
"DO NOT DO THIS".
And that you deserve what's coming if you did it.

It would be there as an OPTION though in my perfect RPG. Just one that you're never ever ever ever ever ever ever ACTUALLY meant to take. (In a way it's a sensible conclusion from the logical extension of looting: you take everything you can. The text said he gave you everything except his body, so in order to loot from him......)

To not end on a morbid note (I'd like to think that it can be dark comedy and not just dark), there's more content to come for the perfect RPG though! Starting with a piece of worldbuilding: Touched.
Touched individuals are a natural consequence of Walkers existing in the world. Walkers can change the very fundamental landscape of the world in every sense: cultural, political, physical, etc. When a Walker interacts extensively with an individual in the Future/Present (key note, it has to be extensive; just saying to them 'hi' isn't enough), then if that Walker goes into the Present/Past and changes it, then when the Walker goes back to that time period, the individual they interacted with
-Still exists even if by all rights they shouldn't
-Still remembers the way things were
-Yet knows how things currently are.

Those individuals are called Touched.

They are, essentially, sensitive thanks to direct interaction with the walkers, to changes the walkers make. Non-touched individuals don't remember, because as far as they're concerned, the world they're in is the world that they've always been in. The changes which happened are history to them; they happened already.

So the game does not work on the principle of a stable time loop, where you go into the future, learn of things you haven't done yet, and then do them. Changes you make are unexpected and permanent. You have no way of knowing the consequences of your actions, except for interacting with the worlds after they've been changed.

I mentioned already that changing one could change the others and this applies for all realms in past/present/future such that changing one in the past can change a different one's future. And that's how it more or less would manifest in the game. One reason why going to the future is less helpful than you might imagine--the antagonists which are attacking are beings which live in a realm outside of space and time. So for them, they can attack all three.

They are not themselves walkers, but are close in principle to being walkers. (So close, in fact, that the characters are disturbed by the similarities as it is noted what they can do is similar albeit not identical to what walkers do.) They are sent to the past, they are sent to the present, they are sent to the future. They are attacking all three at once.

Succeeding in the past succeeds all three but is the hardest for them to do; succeeding in the future doesn't guarantee success in the others but is easier for them to pull off.

One thing I worked on yesterday was that because elements are now a key part of the setting, I wanted there to be game balance between them.

I did develop a system, though frankly Ice's placement makes no sense to me. It's just that it's the best I could think of.

Fire > Air > Earth > Energy > Water > Fire is a five-way rock-paper-scissors elemental wheel.
Ice > Light > Dark > Ice is a more traditional three-way rock-paper-scissors elemental wheel.

If you hit an element which trumps your own or which is identical to your own, it is more easily nullified/absorbed; if you hit an element which you trump, you do significantly more damage; each element has one it's weak to and one it's strong to.

Of course.

While enemies might have one element they are predominantly classified as.

This does not preclude multiple immunities/types/etc.

You could have an entity immune to all of them, vulnerable only to non-elemental attacks.
You could have an entity with rotating immunities.
You could have an entity immune to Fire, Water, and Air, yet vulnerable to Energy and Earth.

And so on and so forth.

This is just a loose guideline.

​The other thing I worked on yesterday was...yep. Classes!
Doesn't the game have no classes?

Why yes! Yes, it does not have classes.

By which.

I mean.

There are no classes in the game.

However. I explicitly did say that characters could be flavored as fitting into the archetypes we typically associate with a class. And I compiled a list of classes which could be featured as things which characters pull from. To repost it, it's like so:

Warrior/Fighter-->Knight
Thief-->Ninja
Monk-->Master (Martial Artist/Black Belt)
Red Mage-->Red Wizard
White Mage-->White Wizard
Black Mage-->Black Wizard
Blue Mage-->Blue Wizard?
Ranger/Hunter/Archer (/Sniper)
Dragoon(Lancer)
?Onion Knight?/Freelancer
?Dark Knight?
Scholar
Evoker/Conjurer
Devout/Shaman
Magus/Warlock
Summoner/Beastmaster
Sage
Bard
?Mystic Knight?/Sorcerer
Mime
?Time Mage?/Dimension Mage
Dancer
Samurai
Necromancer
Cannoneer
Gladiator
Oracle/Seer
Corsair/Pirate
Puppetmaster
Rune Fencer(Duelist)
Trickster
Templar
Squire/Soldier
Illusionist
Holy Knight/Paladin
Gunner(Gunslinger)
Gambler
Juggler
Elementalist/Elemancer
Defender/Guard/Sentinel
Assassin
Cleric/Priest/Bishop
Druid
Rogue
Scientist/Inventor/Chemist
Arbalester
Berserker/Barbarian
Arcanist/Psion
Siren

There's just about the number of classes listed necessary for every character to have 2-3 classes as their thing, if we assumed no overlap. (There would be overlap. I mean, I am creating The Perfect RPG here for me where each character is as unique as possible, but. Even I have limits; I'd recognize that past a certain point, there's a level of redundancy where characters share some traits with one another.)

I could limit the list further if I needed to, but I don't need to. This serves my purposes just fine. Because once more. There aren't classes. There's just the aesthetic of them, where characters have certain aspects and traits which are fitting for archetypes associated with particular classes, but don't have any official designation.

There's no rule stating that a character could only be a Fighter, for instance.
They could be a Fighter and a Beastmaster and yet also be a Dancer and yet furthermore have some Black Mage traits to them. In spite of each of those being VASTLY different classes, they are theoretically something which could fit entirely on one character.

The list above, then, is basically a guideline (not rule) for where my characters would draw their limit breaks, combos, counter breaks, counters, combo breaks, and hero abilities from. It is by no means an extensive list (items not there could be there) nor is it an inclusive list (items there are not guaranteed to be in the perfect RPG and even if they are featured may not be featured as much as you'd think).

On that note.

Another thing I added today:
Explicit guest characters.

The game features four guest characters which you, the player, don't know are guest characters. You have no clue that they are not among your final 20 roster. You don't know who the final 20 are until you've had the 24th character join and seen four rather permanent departures in the game. Every character introduced is indistinguishable for the most part.

But EXPLICIT guest characters would have different behavior. All those unique things I said all 24 characters have? These ones don't. No Leitmotif exclusive to them (though they could have one I suppose if it's something used elsewhere as well), but most obviously:
-They cannot level up
-They cannot have their equipment changed
-They cannot have anything assigned to them or removed from them
-You cannot name them
-They cannot advance in jobs
Among other traits.

These characters would mostly appear before the completion of your party, so in the earlier areas of the game. They would explicitly be in the party only for a single area, then leave for whatever reason. They could be placed in the backup party, but not the bench.

Explicitly guest characters probably would feature unique abilities, but every single unique ability they would have would have some identical effect exist on a character you'd pick up at a different time. This would never be a direct correlation. Say you had a guest character whose powers were a combination of a Black Mage and a Fighter. You'd then never encounter a character whose powers were a combination of a Black Mage and a fighter, but you would encounter a Fighter, and you would encounter a Black Mage, though they'd probably be like Fighter-Pirate and Black Mage-Ninja to give random examples.

In short: explicit guests are redundant with later party members that aren't guests (or at least not explicitly so), but their abilities would be scattered onto various different permanent (or semi-permanent) characters rather than directly having one person be an effective replacement/substitute. In this sense, they can serve as a bit of a preview, while still being their own unique characters.

Explicit guest characters would be used basically as often as necessary to advance the story in a way that a permanent character's addition couldn't provide. As a result, there'd be as many as the story and game mechanics deemed necessary. It could be a lower number like four, it could be a higher number like 20. But they'd be a part of the Perfect RPG as I envision it.

There's one other thing I worked on...but frankly. I've reached the four hour mark. (Well passed it actually; I started at 2:10 and it's 6:20.) I'm getting a little bit exhausted, and the thing is. The next section (which was always planned as the final section) of my ramble requires the most amount of research.

Basically, I was going to try and get a list of status effects/ailments I want in the game.
I need to do my homework.
It's easy enough to find the list in Final Fantasy VII, but I need to actually do so.
It's easy enough to find the list in Chrono Trigger, but I need to actually do so.
It's easy enough to find the list in MARDEK RPG, but I need to actually do so.
It's probably easy to find the list in Epic Battle Fantasy 3/4, but I'd need to actually do so.

The main thing making this an extensive project is not only the need to do the above (each which does take time), but rather the real problem: I also wanted to research various different effects from POKEMON. Which is...
...Well it's a rather long list to say the least but one I want to comb through and steal from since it DOES have a bunch of the features I want in my Perfect RPG. Pokemon is a vastly-underrated part of my childhood; I tend to overlook it in favor of Gauntlet Dark Legacy, Chrono Trigger, Final Fantasy VII, Majesty, and SaGa II/III among others, but it was still a STAPLE. It helped define my RPG-playing experience. So yes some elements from it would indeed be in my Perfect RPG, as many status ailments as I can plausibly lift being among them.

Hmm.

I suppose I can do the research tomorrow some time, but I'll list the ones I did get.

All status effects would be categorized as 'Negative' (undeniably a bad thing), 'Mixed' (situationally good or bad), or 'Positive' (undeniably a good thing).

Flying (unique status effect I'm inventing, providing immunity to Earth attacks and halving non-long-range physical damage attacks, but leaving self doubly vulnerable to wind and fire attacks)
Burned
Frozen
Slowed
Berserk
Energetic (Charges combos at double speed and deals 25% extra damage, but takes double damage and counters take four times as long to charge)
Tranquil (Charges counters at double speed and reduces damage taken by 50%, but reduces damage dealt by 25% and combos take four times as long to charge)
Blind (reduce accuracy)
Regen (gives Regen)
Null-(Element) (Nullifies attack of specified element)
MP Barrier (halves magic damage inflicted)
HP Barrier (halves physical damage inflicted)
Auto-Revive
Sleep
Numb (can't use physical attacks)
Paralyzed (chance of skipping turn)
Death (instakill)
Death Sentence
Confuse
Silence (can't use magical attacks)
Zombifie
Weak
Wet
Cursed
Haste
Sapped (1/3 of: HP drained from Sapped individual to caster; MP drained from Sapped individual to caster; both HP and MP drained from Sapped individual to caster)
Drained (1/3 of: HP drained from Drained individual to caster; MP drained from Drained individual to caster; both HP and MP drained from Drained individual to caster)
Leeched (1/3 of: HP drained from Leeched individual to caster; MP drained from Leeched individual to caster; both HP and MP drained from Leeched individual to caster)
(I want one of Sapped/Drained/Leeched to drain HP from target to caster, another to drain MP from target to caster, and the third to do both, but I'm not sure which name should be used for which effect.)

Bleed (reduces max HP)
Unfocused (reduces current MP over time)
Erase (reduces both current HP and MP over time)
Stupefy (reduces max MP over time)
Regress (reduces both max HP and MP over time)
Petrified

...In no particular order, with the explicit caveat that this is an incomplete list. I need to do my research (also check TVTropes, another source) to see what other ones I want. 

So while I didn't finish that project. This is everything that I wrote up today. As in. I've done everything I pre-wrote. I didn't do everything which the entry was meant to cover because I'm only like half-finished with the status effects. There's so much more to do there. I also want to list elements which particular status ailments are more affiliated with, which I attempted to get started but kinda did badly so I'm scrapping what I wrote.

So. That's more on the Perfect RPG.

With every passing day.

More and more a game I'd want to play.

Less and less a reachable goal and less and less something anyone else would want to.

​Ah well.

There was not a two-day gap in entries with today being a double-entry. My previous entry was made on Wednesday, just past midnight. I forgot to adjust the date on the entry to reflect that.

Anyway!

Today is Valentine's Day. It's my first one with a girlfriend, though unfortunately they have a long day today (and I had a long day yesterday meaning neither definition of the 14th is viable for us to have a date) meaning no intimate time given that I work tomorrow and thus can't stay up. I did however get free food from Denny's, because my mom and dad decided to eat out and allowed us kids to tag along.

I also on the way down developed a new power for Ruby in Red Hood Rider.

...Hey!
Don't go rolling your eyes, sighing, or just thinking "...again?" or the like.
Trust me on this! Just...bear with me for a while. What I'm saying is something that you'll actually think is something which would be too good to not have.

Basically, it's not a power specific to her--it's a universal power of all vampires.
This new power is actually a consequence of one of the very most basic aspects of vampire physiology in my setting. In my setting, while vampires can drink through the mouth (which is considered stronger than sex; on a willing participate the kiss of a vampire is better than an orgasm; on an unwilling participant the bite of a vampire is explicitly akin to rape), the primary method vampires drain blood is through their fingers.

The new power is extrapolating based off of that, by virtue of a required secondary power of sorts--it's not even much of a power. Basically, vampires can for a limited period of time breathe underwater, via sucking in the oxygen from water to go directly into the bloodstream...but this is not something which allows them to stay underwater indefinitely. Their draining is meant specifically to drain blood from people, not to drain oxygen from water.

So how long it extends their ability to remain underwater, I'm not sure exactly. Lower figure would be ten minutes, higher figure an hour or two, but it wouldn't exceed that. It also isn't exactly healthy for them to do. This can be thought of as an emergency oxygen system, to be used only when the primary oxygen system has failed. It's also something which is specific only to water. It doesn't work anywhere else.

And even given this...my use for it?

...A skit.

A gag.

An omake before the start of an episode, as a one-off joke...and even then, with the explanation being mostly in the author blurb with it only implied in the comic image proper. This is why it's not really something to groan about her having; it's not something story-significant. It's just for the sake of a single piece of humor, one which is in a setting that while fully canonical is detached from the main story altogether. Isolated and remote, with it only serving to vaguely segue into a new episode.

In this case, the skit would go something like this, with Angel Wings saying,
"Sally is calling you."
And Ruby's response?
"Please text her to tell her I can't answer her right now on account of (new panel) me slowly drowning to death." with the new panel revealing that her leg is tied to a magical chain which is attached to a big weight with her underwater.

For obvious reasons, this would be before Gary becomes the elemental rider of water (since he could fix it far faster, obv).

I'm thinking that this makes a better omake than whatever I had planned before as an introduction to one of Ruby's Rogue Gallery villains--in this particular case, you might have guessed it's the mobster. I don't remember his last name (as ashamed as I am to admit I the creator can't remember his full name) but his first and middle name are Mac Rose. Because what superhero setting is complete without a local mobster that is an antagonist of a hero.

The shackle is an anti-magic one, if you hadn't guessed, which would of course prevent Ruby from just summoning a bow to sever the chain.

Soyeah. Not a new power which serves any practical purpose.
I mean.
I could make it serve a practical purpose.
I'm sure this is a power lots of people would love to have and it is technically one extra thing.

It's just that it's one extra thing that I consider completely and entirely irrelevant to the story outside of a single gag. And honestly I don't really see much of an issue with having characters possess powers which are displayed for no other reason than Rule Of Funny, since...well. I aim to entertain. The moment has a bit of black humor involved, but I still think that if handled well it'd be a good addition to the comic.