Watcher: Jokes aside, 'memes' are just one of those things that been with humanity in whatever form, from the get go, if someone out there was actually capable of literally controlling memes that would be super oof. I love this sheet but for some reason I feel like it doesn't go far enough? Like it's almost there but it just falls short. I'm not sure why I feel that way. Maybe played a bit more into the " an element of an culture or system of behaviors passed from one individual to another by imitation or other non-genetic means" aspect of it. But still pretty gucci overall tho.
Holy shit Morg, this Watcher shows that you still got that what you think you've lost. I can definitely see your trademark witty humor on it, and despite the theme being so ughhh because it's so easy to make a spetacle out of yourself when you're doing a joke-ish-but-not-really sheet, you've managed to make a cohesive experience. Which are a bunch of pretty words to praise you on how this ain't cringe. Good work, son. I loved him.
“Wonderful to meet you master. You may call me Foreigner for now. I hope you like classical music, because you’ll be hearing a lot of it from now on…”
(First Ascension)
Class: Foreigner Other Classes: Caster Alignment: Chaotic Neutral Place of Origin: Italy; 17th Century
Parameters:
STR: D END: C AGI: D+ MGI: B LCK: A
Height: 173 cm Weight: 64 kg Likes: Classical music, Fencing Dislikes: Prolonged silence Talent: Memorizing Music Natural Enemy: None Attribute: Man Traits: Humanoid, Servant, Male, Artist, Threat to Humanity Armament: Violins, Violin Bows Catalyst: Any of his sheet music
~~Class Skills~~
Existence Outside the Domain: A
A class skill associated with Foreigners. Denotes a being that descended from the void of outer space. As one who was thoroughly enraptured by, and welcomed an Outer God, Foreigner wields a portion of the Outer God’s power. “It is, no doubt the best, the best viol player I have ever heard. Such compositions are so beautiful they are beyond what is even possible.”
Divinity: B
Having become a herald for an higher being from outer space, Foreigner gains Divinity. By the nature of the Outer God, it is naturally sealed inside Foreigner. However, its presence becomes more apparent the longer Foreigner plays in one sitting. “I may have given my soul to this being, but I can not say I regret it. What I experience, both in life and as a heroic spirit, is well worth it.”
~~Personal Skills~~
High-Speed Incantation: C
The ability to hasten magic incantation speed. Rather than quicken his casting speed, this instead increase the speed he can play instruments. Foreigner was known for displaying skill beyond others at his time, playing music on his violin that is difficult even on modern violins. “To play at this level, it takes years of practice. Perhaps one day master, you too can reach such levels if you put in the practice.”
Il Terzo Suono: B
A unique skill which is based off of a phenomenon that Foreigner discovered, where if two different tones are played at the exact same time, a third tone will be heard by the listener. As a skill, if both Foreigner and his Outer God play specific notes at the exact same time, any opponents within hearing distance will suffer from auditory and visual hallucinations. All hallucinations are created by the target’s own mind, and thus, each target will see something differently. The types of notes being played by Foreigner and his Outer God will change the emotion the hallucination is trying to elicit from the target. Those with strong mental fortitude and defense against hallucinations may be able to shake off this skill’s effects. “A sound you say? There is nothing but the sound of instruments. It must be your imagination” *Foreigner lets out a wry smile*
Lipinski Stradivarius: EX
A unique skill possessed possessed by Foreigner. While one might expect this to be a Noble Phantasm, it is instead a skill due to the fact that Foreigner himself was no known for using this violin at all, and it was more famous under its next owner than when in his possession. However, due to the nature of the object, he possesses this skill which can only be used on said object, that object being the Lipinski Stradivarius itself. The Lipinski Stradivarius is a fairly normal violin with a slightly higher endurance than most. However, this skill activates once he gifts this violin to someone else. Upon doing this, the person who was given the violin will, for a limited time, be able to possess the same violin skills as Foreigner himself, and can even cast skills and magecraft through playing the violin just like Foreigner. However, this does not gift his connection to the Outer God. “Of course you can have this, I have no need for it. I already have many violins that I much prefer playing over this one.”
Type: Anti-World, Anti-Mind Rank: A Range: 0~50 Max Targets: As many as there are within the range
A Noble Phantasm which represent one of the most famous stories known about one of Foreigner’s sonatas. The story most commonly says that Foreigner once dreamt that, after trading his soul for the Devil’s servitude, the Devil played the most beautiful Violin sonata he had ever heard. Upon waking up, he immediately tried to play it on his own violin, so as to stop himself from forgetting it. Although he tried, he didn’t manage to copy it perfectly, and yet made what is known as one of the most technical violin sonatas of all time. Foreigner himself however swears that even the “Devil’s” was better. However… the truth of the matter was that it was not the Devil in his dream, but a different being.
Upon activating the Noble Phantasm, Foreigner starts playing the sonata his Noble Phantasm is based on. This first portion targets all opponents with a high ranking charm. Those who have an abnormally high charm resistance or are immune to charms can ignore this part of the Noble Phantasm. Those who are affected by the charm are frozen in place in awe of the music. Not to long after the song starts, other instruments eventually join in, seemingly from an unknown source. From here on, as the song goes on, the area within the range changes: the sky darkens and the air gains an etherial chill. During this portion, all within range (except Foreigner himself obviously) slowly get drained of their mana and life force. Near the end of the sonata, the area within range will take on otherworldly qualities and eventually block people from leaving. Any opponents are present for the whole duration will, by the end of the sonata, surely perish no matter how strong the target is.
It is not recommended that the master or any allies stays in range of this Noble Phantasm, as while they won’t be affected by the charm (as Foreigner can choose to not let his allies be affected by it), they will be affected by the mana and life force drain. The only way an ally would not die from this is if the Outer God willed it that they live, which is not going to happen.
~~Lore~~
Foreigner’s real name is Giuseppe Tartini, a famous violinist and composer. He was well known for his skills and his wonderful sonatas. He is most well known for the “Devil’s Trill Sonata”, for both its beauty and the story behind it.
Foreigner was born into an aristocratic household on the 8th of April in 1692, in Piran, Istria during the time which it was still under the control of the Republic of Venice. He eventually studied at music and violin playing at a college in Capodistria, Istria, getting his first taste of his later passion. He also eventually attended the University of Padua, at which he became both a law student and a skilled fencer. In 1710, Tartini’s father passed away, and thus he married Elisabetta Premazore, who his father would not be able to disapprove due to class differences. The newly weds did however flee so as to escape the jealousy of the current cardinal, and ended up in the town of Assisi, Umbria in Italy.
In 1713, his life became much more interesting. One night, in a dream, he faced a creature he could only describe as the devil, for its grotesque appearance was beyond his understanding. Although he calls it the “Devil” though, that is not what this being is. This being that appeared in Tartini’s dreams told Tartini that he was destined for a great musical career. What’s more, this being told him that if he gave his soul to it, he would eventually have its power to command. Seeing the chance to gain a wonderful opportunity, he gave his soul to this being, becoming under its ownership. He did however have one request, that this being play a song on his violin. This being found it agreeable, and what he heard was one of the most gorgeous and enchanting songs he had ever heard, so much so that he almost stopped breathing. After waking up from this, he immediately tried to practice this to remember it, and then later wrote it down. While he feels his version pales in comparison to the “Devil’s”, he is still quite happy with what he was able to reproduce.
In 1716, Tartini attended a performance of a violinist named Francesco Maria Veracini, and was so thoroughly impressed with the man’s performance, that he went to the city of Ancona, and practiced for hours-on-end to one day be able to perform at such a level, for his own skill he now considered inadequate in comparison. Thus, his skill improved dramatically over the years, so much so that by 1721 he was appointed as a Maestro di Cappella in Padua. While there he even befriended a kindred spirit, the musical composer and theorist Francesco Antonio Vallotti. From 1723 to 1725, he was also present as a Maestro di Cappella in Prague.
In 1726, he opened a violin school, where students from all across Europe would learn from him. Sometime during his life, Tartini was even gifted a violin by Stradivari himself, although he never played on it much as he preferred his other violins, one of them even being a Stradivari violin itself. He eventually gave the Stradivari violin he was gifted to a student of his by the name of Salvini, who later down the road gave it to violinist Karol Lapinski and eventually it became known as the Lapinski Stradivarius. As Tartini’s life continued he changed his focus to musical theory. During this time, he discovered what would later be called sum and difference tones, which he called “il terzo suono”, as well as many other discoveries. From 1750 onward he would publish treatises which he included his findings of musical theory. Finally in the 26th of February on 1770, he passed away. During his life he had published multiple violin concertos and sonatas, which proved his skill in his prime.
The being from his dreams however, finally collected after his death. Now, he acts as a harald for this being, one which has no name. Tartini, however, is fine with this. He found his life fulfilling, and is now enthusiastic about his new “job”, for he gets to enjoy the quality of music he once dreamt whenever he wishes. Now, he is in the service of this being which is known only by a title: the Music of Erich Zann.
~~Personality~~
“A little small talk is always nice way to get to no someone, no? Would you mind if I add some musical accompaniment?”“A little small talk is always a nice way to get to know someone, no? Would you mind if I add some musical accompaniment?”
 (Third Ascension)
Foreigner is not “tortured” like other famous musicians (which is ironic considering he is the only one to see an Outer God). He instead has this sort of optimistic, “enlightened” air about him. His accomplishments in life leaves him thoroughly satisfied, not wishing to change anything he had done.
His most obvious passion is music. He almost always is playing music on his violin (or in a duet with… his patron). Annoyingly to his master, he may spontaneously pop out of spirit form to transcribe or practice a new song. He actually gets along with about anyone. Even those who don’t like his music, he treats with respect. He however, feels slightly uncomfortable around priests, most likely due to them prodding him occasionally during life in response to his dream. He speaks with a chill in his voice but with the words of a gentle soul and a master linguist.
In combat, he moves gracefully through the battlefield as he plays his violin, and proves to be surprising nimble when he suddenly dodges his attacks while doing so. He can cast spells through his playing his instrument, which is an ability gifted to him by his Outer God. He can fire off many kinds of magecraft with this technique, but in direct combat will mostly use it to open small portals which spew sound waves and beams at his opponent. However, if Foreigner is ever somehow backed into a corner, he can take advantage of his fencing skill by using his violin bow like a blade. While fighting, his facial expressions and body language either show complete serenity or extreme concentration.
He personally has no wish for the grail, as the only thing he would’ve wish for is to hear the “Devil’s” song again, and as a Foreigner he gets to hear such music whenever he wants.
~~Relationships~~
Helena Blavatsky (Caster): “It is nice to finally meet you. Your account of my story is most interesting I will say.”
Wolfgang Amadeus Mozart (Caster): “It is always wonderful to meet other Maestros, do you not think so? It leads to the most interesting discussions, correct. It is quite exhilarating to talk to one as passionate as me about the subject.”
Marie-Jeanne Rose Bertin (Caster): “Fashion? How interesting, I should have expected such fame and profit could be gain from such a profession. On the subject, I could do well with another suit…”
Abigail Williams (Foreigner): “Ah, poor child. You are like a somber concerto, who tells the tale of a tragedy.”
Oi Hokusai (Foreigner): “You’re the famous Katsushika Hokusai? Oh I see, so you are a family member. However, to be turned into an octopus however is most peculiar.”
Yang Guifei (Foreigner): “A musician I applaud your splendid play. Your personality is quite unique, I’ll give you that.”
Van Gogh (Foreigner): “Oh, Foreigner, although your art is as uniquely beautiful as ever, something is definitely off. You give off the feeling of one who is sucidal.”
Katsushika Hokusai (Caster): “Your paintings are splendid. It is like a concerto of majestic quality. Its paints are like players that praise the composer.”
Taliesin (Caster): “A bard, what an excellent profession. Those who pass on the great deeds of others in song, it is no doubt such a happy but selfless job.”
Pyotr Iliych Tchaikovsky (Archer): “Tchaikovsky, you look quite different than what I imagined. Then again, I well know that truth may be stranger than fiction.”
Miss Gardner (Foreigner): “To paint with such fervor, it is a breathtaking display of will. No doubt, will of such magnitude is something anyone would wish for.”
~~Creator Notes~~
Quite literally the quickest I’ve done a sheet. I wanted to see if I could get a second sheet for the contest within a week. So this is the result, and I did not expect to get it done within about 4 days. I surprised myself. Sorry if it might seem simple as a result, but I was trying to test myself with this sheet. I am always open to constructive criticism, as I am still learning the craft.
*cracks knuckles*
well, outta the way, its my time to speak
I like how you use the Ascension art in the sheet, a nice idea which I maybe even adopt one day if it fits.
Also thank you for taking him out of my own list, the ink was barely dry so no hard feelings for that
So if I understand it right you treat the entity in The Music of Erich Zann not as Tru'Nembra like broadly assumed?
Even if so, I think the Class Skill Ranks are bit too high. Both are a somewhat indicator of the prominence of the Outer God within the original mythos and the influence they have over the vessel.
And he just does not really feel foreign to me from the skills and character. But the description of how he opens portals with sound and stuff is interesting to imagine tho.
The Devils Trill Sonata of course invites the idea of Foreigner, but the "pact with the devil" motif in music turned to contact with outer god becomes stale if you read (and actually done it myself in some form) already. I am not versed in demonology, but we talked several times now in this forum that actual devils and angels could be an argument to make someone a Foreigner. So if there is a "devil" related to music in some form, perhaps they would have fit better.
But dont take me wrong, it is still a decent sheet for me, it is just that Foreigner need a certain feel about them. Perhaps I am just salty right now because of the questionable canon Foreigner addition today.
*cracks knuckles*
well, outta the way, its my time to speak
I like how you use the Ascension art in the sheet, a nice idea which I maybe even adopt one day if it fits.
Also thank you for taking him out of my own list, the ink was barely dry so no hard feelings for that
So if I understand it right you treat the entity in The Music of Erich Zann not as Tru'Nembra like broadly assumed?
Even if so, I think the Class Skill Ranks are bit too high. Both are a somewhat indicator of the prominence of the Outer God within the original mythos and the influence they have over the vessel.
And he just does not really feel foreign to me from the skills and character. But the description of how he opens portals with sound and stuff is interesting to imagine tho.
The Devils Trill Sonata of course invites the idea of Foreigner, but the "pact with the devil" motif in music turned to contact with outer god becomes stale if you read (and actually done it myself in some form) already. I am not versed in demonology, but we talked several times now in this forum that actual devils and angels could be an argument to make someone a Foreigner. So if there is a "devil" related to music in some form, perhaps they would have fit better.
But dont take me wrong, it is still a decent sheet for me, it is just that Foreigner need a certain feel about them. Perhaps I am just salty right now because of the questionable canon Foreigner addition today.
Thanks for the review. I do agree that the class skills are probably a bit too high, I kind of switched back and forth between making them lower or higher multiple times, I ended up just using the higher ranked version when I submitted it. I kind of had a hard time thinking up skills in general, but the second skill was supposed to be a skill he obtains as a Foreigner in a way (due to the fact that music has to be played by both Tartini and the Outer God to use it). Also, I had the idea that (at least when dealing with outward aspects like personality or appearance) the Outer God would be a bit more stealthy in his aspects and such, taking inspiration from its mysterious nature and vagueness in the original story. About what you said about it being a kind of common way to make Outer God contracts, I figured it might not be mind blowing, like I said in the Editor's Notes, I figured this servant would be super simple just because of the short amount of time I spent on it. I do appreciate feedback though from Foreigner-man himself.
An unknown child. A Classless abnormality with a blank Noble Phantasm that is surely a Servant of some kind. He calls himself Oniyasha, but that is not a famous name recorded to history. The child provides no useful information to figure out his identity beyond his passion for acting.
In the next morning, the Master finally understands. He is…
███████████’s true name is Zeami Motokiyo, the foremost writer of Nō, leader of the Kanze group of theater and a superb Nō actor by his own right. Nō is an ancient theatrical style deeply connected to Zen Buddhism that transmits emotion and meaning through plays that feature minimal, yet significant, movement. The style was truly established by Zeami’s father, but ███████████ elevated the artform of Nō through analysis and diligent practice. He focused not only on the acting during plays, but also on how to practice, how to approach each stage of one’s career and how to manage an entire theatrical group. He has many writings detailing his philosophy and practices, specially when it comes to training successors, but his most famous and important work is the Fūshi Kaden, or
Kadensho
The Book of Transmission of The Flower
.
Despite his importance and genius, Zeami was forgotten after his death. This injustice was only corrected more than 400 years after, in 1883, when many of his writings were rediscovered. He now stands among the greatest men in Japanese history, and his ideas are widely applied to teach people in all forms of acting and business.
Still, even after understanding who he is, his lack of an identifiable class remains a mystery…
Personality and History
One of the greatest artists to ever live, Zeami was born to an already outstanding figure: Kiyotsugu Kan’ami, an acclaimed Nō performer. At age 11, he performed alongside his Father to the then shogun Yoshimitsu Ashikaga. The young shogun was impressed and invited the Zeami to his court to serve him personally. This was a great honor and a desirable opportunity for any artist, and he went on to serve him and his court for many years.
When he was twenty, his father passed away while travelling to a performance, leaving the Kanze Theatrical Group for Zeami to lead as the shite: the protagonist in Nō, as well as the leader and director of the theater group.
Zeami went on to improve his father’s dramas and create many of his own. Not only that, but he also revitalized the group by emphasizing the importance of practice and by implementing many changes to the training practices of his fellow actors. He underwent a lot of work to guarantee that his theatrical group would survive and thrive, so that the actors there could display The Flower, as he called it, on stage.
Flowers are unique existences. Each species blooms in unique ways and after different amounts of time. Each grows in a different weather and requires different amounts of sun and water. Their beauty is like no other in nature, yet each species has completely different shapes and colors. Even individual flowers, despite being instantly recognizable as sisters to others, display mesmerizing patterns unique to themselves. Not only that, but all this beauty is displayed in silent, slow, meaningful changes that affect the very life of the plant they are born from.
That’s how Zeami believed Nō artists should be. Nō is an artform that thrives on subtlety. One must not try to impress his audience by being loud and beautiful, or by changing established plays according to their whims. They must abide by the rules and traditions of the artform and act the praised plays as they are, only then are they able to display true beauty. Not by displaying it for all to see, but by subtly transmitting their unique spontaneity—shaped by their original intention, their experience, and the present situation—, to the audience. That is The Flower that every artist carries.
Despite his abstract views on the nature of acting in Nō, Zeami was a realist. Many of his writings talk about the difficulty of acquiring that beauty, as well as maintaining it through their careers as they age. Perhaps that’s why he believed so much on the value of raising appropriate successors.
Zeami wrote extensively about The Flower, but in particular about the difference between the Temporary Flower, the spontaneity and beauty that young boys naturally possessed, and the Genuine Flower, which was born from that temporary one, but that needed to be continually protected and nurtured so as to sustain an artist’s talent through their life.
Sadly, though he placed great importance in training a successor, he and his wife were not blessed with children despite their wishes. Around the time he wrote Fūshi Kaden, Zeami finally decided to adopt a successor. He chose his nephew Onnami and determined him to be the one who would carry on the Kanze Theatrical Group.
In the following years, Zeami had three children.
Torn between the promises made to Onnami and his own eldest son’s birthright, Zeami allowed his emotion to guide his hand and, when Fūshi Kaden was completed, it was handed down to his son.
It was then that the Yoshimitsu’s preferences changed, and the shogun started to favor Zeami’s rival.
By then, Zeami was an experienced professional, and understood the comings and goings of luck, he called them Robust Moments and Weak Moments. One must be able to ride along their Weak Moments and save their best for the Robust Moments. In acting, and in life.
Yet, this Weak Moment did not roll over. Yoshimitsu died and the following shogun started favoring the Kanze Group once again. But not Zeami’s or his son’s plays. He favored Onnami’s.
The group was ultimately split between those who held on to Zeami’s teachings and those who wished to follow Onnami’s methods under the patronage of the shogun.
And still the Robust Moment did not arrive. A few years later, his eldest son died.
Even still, this Weak Moment continued. Zeami was suddenly expelled from the capital and banished to an Island. The reasons for his banishment are a mystery even to the man himself, and they remained so, because Zeami died while in exile, forgotten to all for 400 years.
As a Servant, Zeami believes he understands why he never reached his next Robust Moment. He himself had written down that “a family does not continue until the art of performance is passed down”. The successor to the family’s trade should be the most able and talented, even if he is not your child.
By breaking his own teachings, he had invited weakness into his life.
Now, Zeami intends to make complete amends and follow all of the ideals he so deeply believes in. He’ll be a strict teacher to his Master, but not a cruel one. Zeami is a man of very few words and even less expressions, but he is ultimately a kind man that is passionate about art and about passing it on so that a new generation surpasses him.
But even if that's all he wants; his Master knows there is more to it now that they understand his Noble Phantasm…
Noble Phantasm(s)
Nen-nen Kyorai no Hana wo Wasuru Bekarazu
One Should Not Forget The Flowers of the Past
. Type: Anti-Self
Rank: EX
One Should not Forget Any of His Experiences. One of the philosophies extolled by Zeami in his writings. Uncharacteristically, this is not a teaching for a chosen successor or an ascending star, but for the seasoned master.
It is the belief that every Flower you’ve transmitted on stage is important for your development as a performer. Even if one attains a Genuine Flower, they should not forget the Temporary Flower they held in their youth.
A Noble Phantasm that is manifested both in the evolutionary nature of his Saint Graph, as well as the abnormal container he has been summoned in. Perhaps this is appropriate for his legend, but none can come close to the Flower that houses Zeami. His Class is truly unique, for not only is he a ███████████, but he is a Self-███████████ as well.
Zeami believes that a Nō actor has to start as a child and hone their skills and their mind through their whole life to attain and maintain that Genuine Flower he adores, and yet, the man himself failed to do so at a critical moment in his life. What’s more, he was forgotten by the general populace for 400 years before reacquiring his fame. This man is fundamentally not qualified to occupy the spot of the Heroic Spirit Zeami… or that should be the case, but Fūshi Kaden does not teach abandonment and punishment, but rather belief and improvement.
Therefore, Zeami deserves a second chance. This Noble Phantasm is a journey towards Zeami’s true purpose as a Servant.
First Day “Childhood. Seven years old. One should respect what comes naturally from the child and let him proceed as his heart tells him.”
Zeami has been summoned but is not tied to anything. He has no True Name, only his childhood name. His Noble Phantasm seems to be an empty vessel and he appears to have no class at all. Command Spells will serve no function, they are nothing against his unbridled love for Noh.
Second Day “Early Juvenile Age. Twelve years old. One’s natural talent is at its peak at this age, for young boys embody the subtlety and profoundness of Nō in their appearance and voice.”
Zeami recalls his True Name and his Personal Skills. He is not yet at his peak as a Servant, but is very close to that. There’s no change in Parameters. This process is not a transformation of his essence, but a reshaping of his talent.
Third Day “Later Juvenile Age. Eighteen years old. It is at this time that an actor faces his first difficulty in life: He loses his first flower because his voice breaks. No matter. Ignore any laughs and proceed with your practice, overcoming this limit will allow you to nurture your true talent.”
Zeami becomes incredibly depressed, but also focused on practice. He will not listen to his Master about any other matters besides the honing of his skills. Attempting to force him will only lead to disaster, since this is the only stage of his Noble Phantasm in which his Parameters change: Endurance, Magic and Luck all drop two ranks.
Fourth Day “Youth. Twenty-five years old. Physically matured, the actor now looks youthful and skillful. Praises will rain upon you and you popularity might surpass more skilled masters. Do not misunderstand the circumstances. Popularity derived from newness will not last. Remember your Original Intention and seek your Genuine Flower.”
Zeami acquires a very strong illusory skills that makes him appear to all other Masters and Servants as a powerful Caster able to perform irresistible, entrancing performances. The Master that takes advantage of this has to be careful, else Zeami might become boastful and fail his own Noble Phantasm’s journey.
Fifth Day “Early Middle Age. Thirty-four years old. An actor can improve until thirty-four or thirty-five years old. After forty, he will just keep falling. If one is not recognized as an actor by this age, it means they did not develop a Genuine Flower. It is time to look to the future and to decide which path to take from now on, to ascertain how one is going to live from now on.”
Zeami has finally reached his peak. His teachings might have continued after that, but this is the moment in which he wrote Fūshi Kaden. This is when he acquired his place among the Throne of Heroes.
As such, his true nature is finally revealed. Zeami is not a Servant meant to fight for his Master at all, rather, he is one who raises them to reach their own peak. It is time for his Master to understand his purpose in being summoned: to know his Class and its skills.
True Nature Revealed
Originally Posted by A very similar Abnormality in a Strange world once said…
What you called forth is a lookout, and an obstacle you must overcome…
If we manifested as a proper Extra Class — although it's odd to talk about an Extra Class being 'proper' — we'd probably manifest as…
Gatekeeper
Those of this Class are not meant to fight in the Holy Grail War, whatever its form might be. Rather, they are trials who are meant to be overcome so that their Master takes their rightful place in the war and in life. They are shapers of destiny. The gates they guard don’t lead to a place, but to an objective.
Zeami might be summoned as a replacement of a variety of classes, depending on what is most appropriate for their Master to become. The most likely end goal of his Masters is a Caster-class focused on whatever art they are trying to hone, but Fūshi Kaden is not so narrow as to only apply to Nō performers or even to artists in general. In fact, many other schools employ its teachings to this day.
This is the true nature of Gatekeeper Zeami.
Class Skills
Gatekeeper B. A Class Skill representing the state of a Gatekeeper as one that leads their master through a series of trials so that they might become something more.
It allows Zeami to alter the Luck stat of any students to give them trials. Rather than risking his Master’s life, this allows Zeami to lead them into situations that provide them the opportunity to overcome their own hardships and prove themselves able to follow the teachings of his Fūshi Kaden, steadily leading them to their desired path.
Trial Defense D. It is the skill to guarantee the integrity of the trails as they are administered. It can manifest as either observation or manipulation of others. At high ranks, one might be able to manipulate the destiny of all those involved with their Master.
Gatekeeper is capable of safeguarding his trials. In other words, this skill allows Zeami to detect when anyone who he might consider detrimental to his Master’s growth is intruding upon the path he envisioned for them in a particular trial.
Gatekeeper (Self) EX.
Rather than a Master, this exceptionally unique skill forces the Servant themselves to go through their own trials before becoming the Gatekeeper his Master needs.
In Zeami’s case, since trials he is going through are the basis for the trials he is going to administer, a clever Master might start their process early by following on Zeami’s example even before he becomes Gatekeeper.
Personal Skills
Robust Moment
O-doki
,
Weak Moment
Me-doki
C.
The ever-changing luck that some call karma.
This skill forcibly changes Zeomi’s Luck rank in a regular pattern. If he’s been exceedingly successful lately, his rank decreases. If he’s failed recently, his rank increases. Additionally, a Robust Moment is maintained through the entirety of his Noble Phantasm’s Fourth Day.
Get the Timing
Jisetsu-Kantoh
D. The skill to astutely recognize the exact moment when one should act to capture the full attention of their audience. The ability to get the timing right.
This skill represents Zeami’s ability to understand and take advantage of “the right moment”. He has completely internalized this process and applied it to his life, such that he is able to perceive the perfect timing for his actions and the actions of others even outside performances.
Wisdom of Fūshi Kaden C. The teaching of a master performer and businessman that guides many throughout their lives. The ultimate literature of Nō. This skill represents Zeami’s capability of applying such teaching techniques to a truly astounding variety of subjects, passions, professions or hobbies outside of theater. If a student follows through all of his teachings, they acquire a
Hisureba Hana
Hidden Flower
a unique ability that can allow them to seize an opportunity at a critical moment. In other words, a Noble Phantasm.
Comments
So... I didn't expect to have the time to joing this contest but then I learned about this guy and spent hours reading about him and then more hours typing this up. There're probably some ugly typos there that I missed but I'll leave that for tomorrow.
Thanks for reading.
Gluseppe Tartini: You know, Delray mentioned the devil bits being stale and... I myself find them stale often yet at times I can enjoy them. This is one of those times. From what I'm reading, the servant is perfectly aware of the deal and partakes in it willingly. Which is quite a bit different from the usual take of this type. It's refreshing. Good job. As for the rest of the sheet... is pretty good. they make sense for the character and serve well to tell his tale. I like it. May not be voted on as there are quite a few others I like but I definitely say you did good and it was worth the wait.
Gatekeeper: I... have find it hard to describe what I think. In a good way. It's well done. I'll have to reread all the sheets but I can easily see this hitting my top 3. The way you layout everything, the mystery regarding her laid throughout, and the reveal.... it's great.
To be honest, every entry this competition has been good on some level to me. It's going to be really hard to vote. My only surefire vote is Watcher of Memes. That's it.
Rookie Lorekeeper, Amateur Extraordinaire, and all around nasunoob.
Holy shit pinetree
Thats so good, really unique in many ways. The style presentation is great and the buildup is so ominous. I did not expect Gatekeeper at all.
The CaS thread had a discussion about the nature of Gatekeepers and Watchers, but I think now I understand it much better now that we have a new goalpost for this kind of GK.
Inspiring me yet again, ey? Glad you found the time to make a Servant again and such a bomb in so little time
And it was fun to play with the presentation a bit since I don't do that often and this is a pretty unorthodox Servant. I'm glad to hear it worked out.
And thusly, I am finished. Been a while since I did a single day Servant.
Act I of our two act masterpiece.
Such a serious look on your face. C'mon! Relax and have some fun with me! I promise you'll have a very good time. I can be your king or your queen, Master. Just say the word.
Alternate Faceclaim
Class: Lover
Other Classes: Rider
True Name: Heliogabalus/Marcus Auralius Antoninus Augustus
Alignment: Chaotic Neutral
Place of Origin: Emesa, Syria
Height: 143 cm.
Weight: 47 kilo.
Likes: Debauchery. Hierocles. Extravagance.
Dislikes: His grandmother. Being constrained.
Natural Enemy: Most Roman Emperors.
Parameters:
STR: D
END: D
AGI: D
MGI: C+
LCK: B
NP: B
Class Skills:
Devotion (B):
A man very loyal to him many lovers, he was one that placed them in positions of power relative to his personal feeling toward them as well as details like the size of their phallus. If someone causes this Skill to trigger, it allows him to use Nepotism to its fullest power.
Object of Desire (A):
Having five wives and purportedly almost one hundred other lovers, the majority of which are said to be male, Lover was one who drew the gaze of both sides. He even possesses anecdotes of going out on the streets dressed femininely and with makeup to prostitute himself.
A mental attack is inflicted on anyone Lover makes advances towards, leading them to be almost irrationally attracted to him and willing to do almost anything he asks just for the chance to be with him.
Divinity (C):
Having been a priest of and named after the sun god Elagabal, Lover worked in his life to replace the highest god Jupiter with Elagabal, succeeding, if only temporarily, in elevating not only the god, but himself, in rank and power. Doing so while sometimes claiming to be an incarnation of the god has granted him Divinity, though the validity of this final claim is unknown.
Personal Skills:
Charisma (False) (C):
While he was emperor and lead armies to claim that throne, his leadership skills and charisma was not his own. Instead, they belonged to his mother and grandmother who manipulated and fed him lines to inspire his people. When he became more independent as emperor, this became more clearly pronounced.
Golden Rule (Excess) (B):
A man that was said to have been excessive in all things, whether food, sex, coin, or entertainment, Lover is one who never seems to be satisfied, nor is he one who ever seems to run out of the things he desired.
Imperial Privilege (A):
A man who felt entitled to all the privileges of an emperor while not desiring to deal with any of the responsibilities, it was all but inevitable that he too would desire the Skills expected of one without putting in the effort.
Nepotism (A):
Having been appointed a position by close relation is not enough to acquire this Skill. Rather, it is a Skill acquired by those who themselves have bestowed positions and power through nepotism. Having tens of recorded lovers, Lover was extremely liberal in handing off positions of power to them regardless of any qualifications. From dancers becoming captains of the guard to barbers becoming overseers of food supply.
This Skill allows him to bestow minor Skills to anyone he deems close to him, whether or not they actually feel the same in return. These Skills are those that fall under his Imperial Privilege as well as Skills that apply authority, such as minor Divinity.
Innocent Monster (C):
Many of Lover’s actual deeds are a proponent of great debate among historians, leading the validity of the more extravagant ones to be called into question. This has led to a possibly more ridiculous version of Lover to enter the general public mindset, becoming a truly absurd and flamboyant individual that was responsible for some of the most deplorable and foolish actions of any emperor in Roman history. Perhaps the original man was a much more reserved person, but Lover certainly is not.
Noble Phantasm The Elagabalium: All Must Worship (C)
Anti-Authority
The temple Lover made for Elagabal to be worshipped within, a large stone carved with his from in the center being the object of worship. This alone would not be enough, but Lover then had all religious items of worship transferred from their respective temple to the Elagabalium, meaning those who worshipped them would have to come worship Elagabal first.
Those who enter this temple will find their links to Divine power limited and dulled as well as a minor mental compulsion to begin praising Elagabal. Should they do so, they will actually begin empowering Lover and raising his stats, as all the praise goes towards him.
The Roses of Heliogabalus: Smothered in Extravagance (B)
Anti-Army
Based on one of the most ridiculous and almost certainly fictional stories of Lover’s life, this Noble Phantasm comes from the tale that, during a particularly extravagant party, he accidently smothered all his guest under a mountain of flower petals he had arranged to fall from above.
This manifests as the ability to summon a seemingly endless swarm of flower petals that he can control and direct at will. This swarm can strike with the force of a truck and is most useful in plastering itself onto his foes, trying to work their way inside to completely suffocate them.
Lore
The son the current emperor’s cousin, Heliogabalus grew up as a member of the higher class and as priest to the god Elegabal until the emperor was assassinated, causing the usurper to exile the previous emperor’s family. While Heliogabalus did not care initially, his grandmother and mother had their sights set on loftier goals.
Convinced by his family, Heliogabalus proclaimed that he was the son of the previous emperor, gaining support and beginning a campaign to “reclaim” the throne that was “rightfully” his. With his grandmother using her considerable wealth and manipulating the allegiances of loyal Romans to further their goals.
The emperor attempted to stop their rebelling by sending his praetors, but they ended up joining Heliogabalus’s army. This began a rapid chain of events in which the machinations of his grandmother and mother from behind the scenes secured his path to the throne, bribing and directing the troops until all dissenters were eliminated, and Heliogabalus ascended to the throne at fourteen.
And that was the end of the glory of Heliogabalus, and the beginning of the depravity of Heliogabalus.
While his steward, whom he elevated into the Senate, were constantly doing damage control Heliogabalus wasted no time in showing that he was unsuited to be emperor. First, he placed a portrait of himself hung over the statue of the goddess Victoria in the Senate, meaning they would have to give offerings to him as they did so to Victoria. He then also began elevating people he favored to higher positions they were unsuited for, much to the dismay of his supporters and the Senate. Then, in what seemed to be the final straw, he began to upend the entire religious pantheon of the Romans by removing Jupiter and replacing him with Elegabal while pairing him with Minerva and Urania as the new Capitoline triad.
Propaganda campaigns were begun and rebellions rose from among those that helped him ascend who began to believe they had chosen poorly, but none succeeded in dethroning him. It was, in fact, his own grandmother, tired of Heliogabalus’s lifestyle and religious practices that were supported by his mother, who hatched the plan that would be his undoing.
After convincing Heliogabalus to appoint his cousin as heir, he was soon killed after a riot broke out when he decided to rescind his cousin’s heirship, dying at eighteen.
So ended the reign of Heliogabalus, a boy who tried to live life to its fullest in the short time he had and became one of the most despised emperors by doing so.
Personality
Heliogabalus is the poster boy of excess and extravagance. Everything must be done in an absurd showing with him at the center. Like the performer he is, all eyes must be on him as he galivants about and indulges his every desire whenever he feels the urge.
A lecherous and promiscuous man, Heliogabalus is completely shameless in his advances toward anyone that shrikes his fancy. A command spell had to be used to prevent him from strolling around Chaldea naked, but that doesn’t prevent him from standing in the doorframe of his quarters in his birthday suit hoping to entice passersby.
One can hardly say there’s anything say there’s anything redeeming about him maybe other than there’s absolutely nothing malicious about him. He has no inherent antagonism towards others and never goes purposefully looking for conflict. He simply moves throughout his day without a care in the world, hoping to find something to occupy his time until the next. He may at times have grand plans and is a party animal at heart, but one would be hard pressed to actually call him evil when viewed objectively.
Girls just want to have fun, fun, fun.
Relationships
To be added. Have to go to work. Gilgamesh:
Nero:
Caeser:
Caligula:
Damocles:
Tiberius:
Commodus:
Act IIA wonderful performance by all parties involved, don't you agree?
Still, I believe it is lacking something. Heliogabalus shown the truly stark and unflinching depravity of humanity. A man mad to a world that could only portray their own maddening sense of "Order". They attempt to place everything within their own ideals of what is good and sane, never wondering for a moment if they are in fact the one's filled with depravity just as those they deprive of life and use to feed death.
For these are the ones who created society. Not the people and patients they believe they need to fix, but the doctors and those "bastions of order" that built the world we live in and the chains that bind us. These grand men and women who drain the world of the very magic that make it so beautiful, so sublime, with the slow death of prolonged "sanity" modern medicine provides. The blackest of magicks spun by those who decry it.
To Hell I say with them, and to Hell I cast them! May their order crumble and may their sanity burn! May all they touch be cast aside and may humanity once more reclaim itself! May the wrongly mad reclaim sanity, and may man act as they were always meant to!
Class: Pretender
Other Classes: Caster, Berserker
True Name: Antonin Artaud
Alignment: Chaotic Neutral
Place of Origin: Marseille, French Third Republic
Height: 171 cm.
Weight: 58 kilo.
Likes: Humanity. The “mad”.
Dislikes: ”Order”. Closemindedness.
Natural Enemy: Sigmund Freud
Parameters:
STR: E
END: D
AGI: C
MGI: A
LCK: C
NP: A
Class Skills:
Mad Enhancement (D):
Rather than typical madness, Pretender is consumed by a devotion to his beliefs far exceeding that of his life bordering on zealotry. This translates to enhancing his Mana and Endurance while active, making him more capable of following his ideals.
Territory Creation (C)
Allows for the construction of a Theater. Within this area, he is able to generate anything he may need for a “performance”.
Personal Skills:
Organized Anarchist (B):
Rather than a declaration of one who is able to direct chaos or simply cause it, this Skill is given to those who have a reputation for planning out and executing chaos, a strange contradiction as it is using order to create chaos instead of merely deriving from it.
Actions taken by Pretender are completely unpredictable by any means. Even abilities like Clairvoyance are unable to perceive the future actions of Pretender , and abilities that allow for the defiance of Fate are lowered when leveled against him.
Rejection of Order (A):
Having believed that the orderly world that he grew up in and became a victim of could only bring about the suffering and oppression of those within it due to its focus on repressing human urges, Pretender placed himself in stark opposition to the organized political and social structure, seeking to shine a light on its failures and crimes against humanity and bring about change through encouraging people to act as they saw fit.
All this culminates in a Skill that rebukes even the idea of “Order”. To Pretender , Authority and position are meaningless when levied against him, robbing them of Divinity and any effects that would normally apply to a Servant like him. This also allows him to ignore Command Spells, but only singular ones. If multiple seals were used on the same request, he would be incapable of resisting.
Mental Disorder (A):
Born with meningitis and suffering from schizophrenia, Pretender was in and out of sanitoriums for much of his life and suffered a severe mental breakdown before his tragic death. Due to this, he was and is prone to violent outbursts as well as hallucinations. Despite being an intelligent and thoughtful man, this Skill tends to activate at the worst times.
Noble Phantasm:
The Theater of Cruelty: Une Cicatrice Ineffaçable (A)
Anti-Order/Army
Pretender's Reality Marble symbolizing the culmination of his beliefs and desire: a world that can truly capture the chaotic, cruel, and beautiful form of the world. A place where man eschews any restraints like order or structure and just is, becoming their true self.
Here, the world appears exactly as it does on the outside. However, insane and unbelievable things begin randomly occurring, assaulting the sense and bodies of all trapped within. The wind howls with the speed of a hurricane, the ground erupts in founts of magma and blood, the hands of God descend from the sky to carry people off to unknown fates, hordes of animals and people roam across the landscape attacking all they encounter, and cries of agony and otherworldly shrieking tear across the skyline.
At the center of it all, Pretender awaits, basking in the glory of the unmitigated chaos of the world, knowing that those he has pulled inside are experiencing what life has to offer.
Lore
“What distinguishes the ways of life and those of theatre is that, in life, one does much and says little, and in theatre, one says too much and does too little. Well, I shall restore balance!”
Well, the play’s about to begin. Don’t worry. I’ll fill you in on the details.
This scene isn’t hard to interpret. He was the youngest of nine children, but six of them died. Those four swollen lumps are the stillborn and those gravestones are the ones who died after their first years of life.
Ah, the sanitorium. He went through quite a few in his life, especially his childhood. You can tell because the man speaking to him is wearing an unbuckled straitjacket even though he’s the doctor. This is where Artaud became addicted to opium. He was never able to kick the addiction, so this is a pretty monumental moment in his life.
Oh? The scene change? Yeah, it was quick because it represented his time in the army. He was only there for two months before he was discharged. They found out about his addiction, and he had a habit of sleepwalking to further distress them.
Here we go. He just moved to Paris. His father wanted him to be a writer, but his work under two directors set his sights on the theater, and that was that. Ironically, his first major work wasn’t a play, but a book. That man with the letter opener was the one who actually helped him publish it. Artaud would publish more later, but this is where it started.
He then bounced around as an actor for a time. His split outfit is from his more famous productions Napoleon and The Passion of Joan of Arc, though, I thought you’d be able to tell that from how those two are suddenly paying more attention. See his excitement? His first film, The Seashell and the Clergyman, just got produced. It was a colossal failure, but it’s what actually began his reputation as a surrealist.
He spent some time with an organized group of surrealists. All the red is what drove him away. It represents their communist ideals, and Artaud vehemently rejected politics in any shape or form, believing they were a lazy and ineffectual means to change society.
The already crumbling background is the Theatre Alfred Jerry, a theatre he founded before losing it two years later. He only had four productions shown within, hence why it seems to already be in the grave.
Now this is interesting! I didn’t expect him to do the dance himself. That’s the dance he witnessed a group of Balinese dancers perform at an exposition. This dance along is actually responsible for most of later works, as he viewed it as a beautiful expression of emotions without words.
Oh, now we’re in for something! This is… da Vinci? What is… oh! She’s the director. I guess she’s vetoing it. Shame. The Cenci is one of his best works. Looks like he needs a second to compose himself.
After that commercial failure, he traveled to Mexico where he studied native practices and civilizations as well as attempted to get away from his opioid addiction. Him being slung over his horse actually happened, as the withdrawal was immense.
We’re going quicker now. He trolled around Ireland before being imprisoned and deported due to his schizophrenia causing him to hallucinate people attacking him, which led to him once more being placed in several asylums. I don’t think I need to explain why each room is smaller than the last.
It was actually during this time that he wrote his most famous book The Theatre and Its Double which is where he first came up with the Theatre of Cruelty. Whether he liked it or not, those years spent treated like a madman really impacted his entire perception of theater.
Things… got worse from there. The constant flashes are meant to represent his electroshock therapy which was meant to prevent his more frequent outbursts. Eventually, he became what they deemed “sane enough” to be released into the world once more, where he immediately resumed his writing.
His first play was also immediately shelved due to its “obscene amounts of randomness”. There were a few groups that got together and attempted to convince those who had done so to broadcast it, as it had already been completed, but they were unable to.
Sadly, we have reached the end. That lump in his stomach is the cancer that would take his life. Or, it would have, had he not accidently overdosed on a sedative. Or maybe it was no accident. He doesn’t seem keen to tell us.
Ah, but, as you can see, that was not the end. Just before his death, that “obscene amount of randomness” was finally broadcasted to the general public. His final work had been shown, and he could at least take pride in that.
That’s the end, and with a standing ovation too! Let’s hope he doesn’t do an encore.
Personality
Antonin can be called a purposeful whirlwind. Tumultuous with great destructive potential often directed toward non-destructive ends. A man of expansive and expressive words that somehow manages actions that speak volumes more than his startling speeches. A vocal cacophony of ideas and opinions that wants to direct people toward the truth.
While he does possess moments of quiet contemplation that serve to only show the creative mind residing in his head, his usual method of communication is intense discussion on how the world is viewed and the problems therein. Likewise, he’s also the sort to have a bountiful discussion on another’s beliefs, fascinated by the differing thoughts and views rattling around in other people’s minds. Then, most rarely, there are moments when he’ll simply greet you and ask you about your day, wonder why it is you are feeling down, and try to help you in his won way.
A man as complicated and diverse as the stories and plays he produced, he is a hard man to pin down, and even a harder man to predict. In a lot of ways, it’s what makes being around him so exciting.
Relationships
Jeanne D’arc:
Napoleon:
:
:
:
:
:
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:
:
:
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:
Craft Essence
Do You Know What Cruelty Truly Is?
Creator Notes
This Servant, like most of mine, started out real simple. Than, all it took was one crazy idea, and it became something bonkers. Originally a non-standard Berserker, when I read about how much he identified with Heliogabalus which led him to write a book about the man, the idea of doing a Pretender struck me like a bat. i had to do it. Had it been only one Servant, I likely would have been done with him yesterday, but having to add a completely separate Servant on top of him meant I had to rush to get down what I could before today, as it would be too late and I would be too exhausted to finish after work was done. So, I did almost everything yesterday, and only managed to fill in the last few required pieces today. I'll fill in Relationships later, as that sort of adjustment is allowed even after the contest is over, but I knew I had to finish everything else. Hope you enjoyed.
Last edited by Morg van Destro; December 1st, 2021 at 07:05 PM.
Do you like jazz short stories? Do you want something to distract from making Servants? Do you wish the idea of Shirou Kotomine didn't immediately bring edgelords to mind? Well, I can't promise it's good, but some would disagree with me. Fate/Without Justice
Damn, now this is amazing. That NP is absurd, but it perfectly embodies his ideals as a playwright. I especially love how you write the lore like a stage play, real impressive work there.
Reading my notes answers the first, and the second is an old trick many people use. Black text. Just highlight it.
Do you like jazz short stories? Do you want something to distract from making Servants? Do you wish the idea of Shirou Kotomine didn't immediately bring edgelords to mind? Well, I can't promise it's good, but some would disagree with me. Fate/Without Justice
you know the contest ends on the 23rd, right? you could have had more time to finish it all.
I agree with Bn, the presentation of the lore is awesome in this contest and well written, as expected. the CE is just creepy.
I would have loved to make a Pretender Transition for you here, I have something in mind, that could fit well with that guy, but sadly we have no Lover Class Card.
But... how do I say this, cool sheet and all, but I feel like there is a certain link missing between the abilities. I can see the wall of petals being an extension of his Pretender NP as just being a wtf moment of nature, but the rest are just skills for A and skills for B, but not really A=B in a related sense. But this is an aspect of Oberontigern I just remembered and didnt point out for others i believe. so I have to reevaluate that.
Class is still weird to me, some feel Fakery to me.
I thought the deadline was tomorrow, and I didn't have the presence of mind to check the thread. Also, I would've if not for the aforementioned lack of Lover and the fact I didn't want to give you any hints of what to expect.
Well, that's my problem with the Pretender Class in general, so I shifted my interpretation of it. It's said the Pretender Class is one Servant taking on another's Saint Graph, making them become them. With the only example we have, that's the case until Oberon realizes he is actually Vortigern. Doing so gives him a Noble Phantasm completely separate from Wry Rhymn Goodfellow. So, I took it to the natural extreme. So long as their pretending to be another, everything is as though that Servant is actually summoned. When revealed that initially image is cast away, revealing the true Servant with his Skills and NP. That way, I personally feel like it actually has something to differentiate it from Faker, who can't actually use the things they fake.
I may think the Class is pointless and only exists for the twist that Oberon was Vortigern, but it doesn't mean I won't use it.
Extra points if the two are actually related beyond superficiality.
Last edited by Morg van Destro; October 21st, 2021 at 06:23 PM.
Do you like jazz short stories? Do you want something to distract from making Servants? Do you wish the idea of Shirou Kotomine didn't immediately bring edgelords to mind? Well, I can't promise it's good, but some would disagree with me. Fate/Without Justice
Originally Posted by DelRey
you could have had more time to finish it all.
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