Post by nozomi ayumu on Aug 17, 2010 8:56:38 GMT -5
NOZOMI AYUMU
[/b][/i][/color][/size][/font] NAME (希美歩) Nozomi Ayumu
NICKNAMES Ayu; Ay
AGE Unknown
APPEARS 15
GENDER Female
SEXUALITY Bisexual
RACE Illusory Spirit
WEIGHT 127 lbs.
HEIGHT 5'6"
PROFESSION Spirit of Illusions;
Warrior; Healer;
Rogue; Illusionist
persona
LIKES
Company
Acknowledging others' intelligence
Exploring other points of view
Cracking a riddle
Songs that tell stories
Sad stories
Stories of virtue
Paintings
Artisan crafts
Sparring
Music
Romance
Animals
Mysterious happenings
DISLIKES
Mundane people
The annoyingly stubborn
Short-tempered people
War
Treachery
Little communication
Bloodshed
Being kept in a cage
Monarchies
Injustice
STRENGTHS
Endurance
Ayumu can withstand a barrage of attacks and still stand, yet not unharmed. Her endurance pays off when she is traveling in harsh climates or when adapting to her surroundings in battle.
Stealth
One of her best strong points, Ayumu is highly skilled in the art of tracking and sneaking about unnoticed. Her Mirage and Imagery techniques are what mainly support her strength in stealth.
Speed
When it comes to getting from place to place, Ayumu doesn't rely on any sort of transportation other than her own two legs. She isn't as fast as a wolf demon, but she's significantly faster than a normal demon, and can run for miles and miles thanks to her endurance, which connects to this strength.
Trickery And llusions
There's no need to explain this very much. She is the Spirit of Illusions, and her powers and abilities speak for themselves. She is good at pretending, playing along and motivating others, so this should cover the "Trickery" part.
Spiritual Connections
As a spirit herself, Ayumu's senses do happen to pick up all things psychic or spiritual. Whether it's paranormal activity or something unexplained or cursed, Ayumu is sure to sense it and get a general feeling of the energy, be it positive or negative.
Senses
Ayumu's five senses are finely-tuned, and are about three times sharper than that of a normal human. Like a nocturnal creature, she can see in the dark as well.
WEAKNESSES
Fire
Although Ayumu is able to work with some fire-based abilities, when she works with water/ice-based ones, she is particularly weak against fire at that time.
Water
This is the vice-versa of the "Fire" weakness.
Spirit Tamers
People or objects who control the dead, nonliving beings and souls have the ability to brainwash her, rob her powers or quite simply, eliminate her.
Dark Magic
Any human or demon who wields powers connected to the dark in some way is more likely to defeat Ayumu in combat.
Priestesses
Ayumu is obliged (almost required by her own will) to listen to any priestesses' orders.
Solitude
Ayumu is not a spirit who enjoys one's own company. She is more apt to be sociable and keep close to some sort of civilization when she is traveling. Being alone for too long may cause her to tense up later when meeting people, and can oftentimes leave her with a nervous feeling; this is something she does not want to deal with when in combat, as she can be caught off guard on more than one occasion.
ALIGNMENT Good; but she sticks to her own judgment.
PERSONALITY
Suave and compromising. Careful, cautious and organized. Likes to point out people's mistakes. Takes pleasure in being five steps ahead of enemies. Likes to criticize. Stubborn. Composed in battle. Speaks eloquently. Calm and cool. Kind and sympathetic. Concerned and detailed. Loyal but not always honest. Does work well. Very confident. Sensitive. Dangerously independent. Very humble. Very generous. Amazing memory. Clever and knowledgeable. Loves to look for information. Must control oneself when criticizing. Passionately romantic. Able to motivate oneself. Understanding. Fun to be around. Easily tempted. Secretive. Does not trust easily. Hardly shows anger. Hates to repeat things over. Very choosy, especially in relationships. Unable to read easily. Enigmatic.
appearance
Ayumu takes on the appearance of a young maiden, about fifteen years of age. She is very fit, and extremely lean as well as flexible and acrobatic. Ayumu has a fair complexion, and is actually very pretty. Her hair is brown, though iridescent under specific lighting conditions. Ayumu's eyes are blue at first sight, though they actually contain a spectrum of pigments and are highly reflective when looked at directly. They also tend to glow in the dark. She wears a dark maroon kimono with white/pale blue accents, wooden sandals of a feminine style and on top she wears light, durable armor that suit a female warrior.
powers && abilities
KI
This simple power is extremely effective and is composed of Ayamu's raw life energy. Ayumu channels her ki and launches it at a target or enemy. This ability can be executed as an energy wave or as an aimed blast from the palm of the hand. When different executions of this ability are chained together in combat, it is extremely effective. Not only is Ki used as an offensive tactic, it is also used in Ayumu's defensive, mid-range, and short-range moves.
HEALING
When Ayumu's Ki is harnessed and channeled through the tips of her fingers, she is able to heal someone else by donating her Ki. This leaves her in a weakened or dazed state if she gives too much away all at once. When healing herself, she doesn't need to do anything in order for wounds to heal. Ayumu's Ki heals her wounds immediately even during combat, and she does not have to control it to do so. This is similar to how a reflex works.
MIRAGE
A complex, long-range or mid-range ability, Ayumu can create a mirage, or illusion, of anything she wishes. These images can be seen along the ground or wherever Ayumu believes the trickery is more useful. A mirage is only conjured when Ayumu has the image in her mind, and is executed when Ayumu exerts some of her ki. Neither an offensive or defensive move, it is more likely that Auymu uses this to create distractions and proxies when necessary. She cannot conjure true clones with this technique, yet she is able to create false, temporary and intangible ones.
IMAGERY
This ability works in a similar way when compared to Ayumu's Mirage technique. However, Imagery is far more powerful and Ki-draining. Imagery only works when Ayumu has a mirror with her. In reflecting a mirage she conjured, she can make her Mirage come to life under her control. She cannot conjure any kind of clone of herself using this technique.
MIRROR && IMAGE WALKING
Ayumu requires none of her Ki to perform this ability. Since Ayumu originated from a painting herself, she can enter through mirrors or paintings and appear in a different place where another mirror or painting is located. This is similar to teleportation. While she is within a mirror or painting, she cannot use her Ki or her other abilities. She simply becomes a part of the painting, or a lonely reflection in the mriror, and moves through it to another mirror or painting.
DOPPELGÄNGER REFLECTIONS
Several hundred Mirage-Based clones can be produced with Ayumu's entire reserve of Ki, yet the maximum number of true clones she can produce without fainting on the spot from exhaustion is only a dozen or so. Since this move drains her Ki very quickly, the clones come in handy for whenever she really needs them, and their purposes are endless. All of the true clones she conjures wield all her abilites and powers, with the exception of this ability. While they may be only twenty-five percent as srong as the real Ayumu, they are just as cunning. When clones are defeated, or simply dismissed by Ayumu, they either break apart like shattered glass or melt into a puddle of black ink.
AURA SENSORY
A spirit herself, Ayumu has extremely acute nerves and senses. Able to see other spirits, ghosts, wisps of another being's aura, and powerful spirit energy, Ayumu can detect the source and define the nature (positive/negative, strong/weak, male/female, demon/human) of the aura(s) around her. She will sense any nearby auras within a quarter-mile radius at best.
INTANGIBILITY
Without using up any of her Ki, Ayumu is able to make herself translucent, and anything tangible cannot harm her. She has mastered this technique enough so that she may use her Ki while intangible. This is mainly used as a form of defense, ambush tactic, or means of escape. Ayumu can only become intangible for about half an hour at most. If she exceeds that limit she is either drained and can pass out immediately after becoming tangible again, or on the brink of ceasing to exist.
COUNTER ILLUSION
As the Spirit of Illusions, Ayumu can tell when an enemy is trying to confuse her with an illusion of their own. Depending on the strength of the opponent's move, she may or may not be affected by it. However, she can ricochet the illusion back to whoever cast it so as to counter her enemy's original plans.
FORESIGHT
Ayumu is not a seer, but she may tap into a spiritual state of mind, and then see visions of catastrophes, important events, battles and other such things in the near future. This ability requires a well-sized portion of her Ki, and will cause her severe migrains and nausea if she is in her spiritual state of mind for longer than twenty minutes.
DRY ICE AND SMOKESCREEN
Dry ice and smokescreen that Ayumu shoots out of her hands and mouth to make sure she can make a quick getaway. Dry ice is a water-based move and smokescreen is the fire-based one. When dry ice is sprayed, it is a white puff of cold smoke that does not allow her target to see through it. If smokescreen is used, a black ash cloud accumulates in front of her target, making it feel hot and almost suffocate from the smoke. Both of these moves require a chunk of her Ki, depending on the area the dry ice/smokescreen will cover.
KALEIDOSCOPE
This is her most powerful move, and can only be used when her Ki reserve is full. Think of this move as Imagery, Doppelgӓnger Reflections and Mirror-Walking all put together while putting her weapons to good use.
Ayumu begins by creating one hundred mirrors of Ki, and aligns them in a circle around her opponent. Ice-Flames bathe the outside of the mirrors, and tie the circle together. She appears and re-appears through each mirror, using her Mirror-Walking technique. This confuses her opponent, and she then conjures one hundred other clones; ten are Doppelgӓnger Reflections, the other ninety are Mirage-based. The clones disperse, standing in front of each of the mirrors while Ayumu herself flies up into the air, standing atop the one hundred and first mirror.
She and her one hundred clones throw their Konki Shuriken; the ten Doppelgӓngers and Ayumu throw real ones, the other ninety just toss ones to confuse the enemy even more. This makes the total number of shuriken used in Kaleidoscope reach a maximum of one thousand. The real shuriken are able to use their own powers while in flight, multiplying and shape-shifting much to the horror of the target. At the end of this (if the opponent is still standing), Ayumu will make all clones melt or shatter away, because she will want to deal the final blow herself. Unsheathing Shourai-Sangai, Ayumu performs the Dance of the Red Crane and Blue Koi.
By the time she finishes, the enemy would have fallen and Ayumu would be completely exhausted of her Ki, putting her in a numb state of mind. But, if the enemy is still standing, Ayumu could cease to exist...
shourai-sangai
* CLICK *
BIPOLARITY
When Ayumu unsheathes Shourai-Sangai, one half of the blade is meant for fire-based attacks, and is weak against cold temperatures and attacks and cannot melt easily. Likewise, the other half of the blade is meant for water/ice-based attacks and is weak against heat and fire-based attacks but cannot be affected very much by the cold. But, there's a third "element" that Ayumu's sword controls. Ice-flames are a combination of both halves' powers, and are mainly executed with the very tip of the blade. The only weaknesses of the Ice-Flames are the elements of light, dark, lightning, wind, and earth.
KI MISSILE
Ayumu can send more accurately-aimed and more concentrated waves of her Ki by slinging it using Shourai-Sangai as a medium. This move works very much like a slingshot does. It also drains her Ki at a much faster rate than if she were to shoot her Ki manually.
DANCE OF THE RED CRANE && BLUE KOI
Primarily used to finish off an opponent when in use with Kaleidoscope, this is Ayumu's second most powerful move.
Ayumu begins by drawing a circle around her with the sword's tip, setting the ground ablaze with Ice-Flames. When she traces the circle in the air, a ring of fire settles about her waist. Or, when in use with Kaleidoscope, the Ice-Flames settle about the mirror-disk that she stands upon.
As if performing like a dancer, she then begins to spin in a clockwise motion, dragging behind blasts of water and ice behind it. Ayumu then repeats the motion, only counterclockwise, this time with fire and embers shooting off its edge. Then she moves her mirror-disk above her target in Kaleidoscope, and with both hands on Shourai-Sangai, she thrusts the tip of the blade down, shattering the mirror-disk and plummeting on top of her enemy, killing it with the tip of her blade.
LIMITATIONS
Rust
Rust is a problem because Ayumu only used an ordinary alloy of metals and the molten, carbonized skeletons of the Nozomi clan. Chronically, she will cleanse and sharpen her sword, however she will fuse some of her Ki into it as well, so it will not break when used in battle.
The Elements
Water/Ice, Fire and Ayumu's Ice-Flames are not considered powerful or harmful against Shourai-Sangai. However, the elements of Wind, Earth, Lightning, and powers of Light and Dark essence have potentially disastrous effects on the blade.
Heat
The blade has a low melting point, but not when it is in use under Ayumu, as she adds her Ki to it in order for the blade to withstand the flames she wreaths around it. Therefore, if the blade is in use by a being other than Ayumu, it can be easily reheated and melted with the proper fire temperature.
HISTORY
At around the same time the thirteenth generation of the Nozomi came to an abrupt end, Ayumu carried the corpse of the last Nozomi man to the abandoned weapon forge of the estate. she burned his body to ashes, as she did with the other thousand Nozomi. Half of every clan member's ashes were used to make the Shourai-Sangai, and the other half to forge the Konki Shuriken. A variety of highly durable metals were smelt into the mold she uncovered among the rest of the tools she used. With the combination of her Ki, metallic alloy, and the ashes of the Nozomi, the Shourai-Sangai was complete.
konki shuriken
* CLICK *
DUPLICATION
The Konki Shuriken is really just one shuriken in its common form. However, it can duplicate with the help of Ayumu's Ki. If the original copy is fazed, damaged, or just "called off" by Ayumu's signal, the copies deteriorate, leaving the damage they wrought. The maximum number of copies that can be created (if this is used in Kaleidoscope) are 100 per Ayumu, including the original shuriken. So, a total of 10,100 shuriken may be flying at you in Kaleidoscope.
MORPH
The Konki Shuriken may change into anything that is about the same size as itself. Butterflies, stones, metal claws or spikes, the number of possibilities the shuriken may morph into are endless. This move is by far one of the most Ki draining, mainly because Ayumu prefers to combine it with Duplication.
DISINTEGRATION
This is what happens when the shuriken either are deflected by the enemy, or hit something, though it leaves some damage when it hits something tangible. Much like the way Ayumu gets rid of her clones, she can also "call off" the shuriken copies so the original is left. When the shuriken duplicates are no longer needed, they either melt like tar or fade away.
ROTARY KI SPINDLE
A move that requires a lot of her condensed Ki, her energy is wrapped around the shuriken and then flung with a spiral motion towards a target. The rotation of the shuriken as it flies towards the target causes the Ki to spin out at all directions from it. The Ki oftentimes is shot out in needle-shaped Ki slivers that cause an unbearable sting in the skin if the enemy comes into contact. This move is incompatible--or rather, can't be combined with Morph, and Duplication.
LIMITATIONS
The Elements
Fire, Water, Earth, Lightning, and Darkness all have a particularly strong effect on the shuriken when they come into contact with it. Even Ayumu's own specialty, Ice-Flames, can cause damage to her shuriken if she's not cautious. The only two other elements that have no effect, or rather, actually strengthen the Konki Shuriken are Wind and Light.
Rust
Since this weapon is forged from an ordinary alloy of copper and scrap metals; not to mention the leftover human remains of the Nozomi clan, rust is a problem when it begins to grow and take over the parts of the weapon that have not been cleansed well routinely.
Heat
Like Shourai-Sangai, the Konki Shuriken has the melting point of any other ordinary weapon forged in the Feudal Era. Ki cannot "heal" or repair the metal that has been damaged by heat or otherwise as it does within Ayumu's body, so excessive amounts of heat projected at the shuriken must be avoided at all costs.
HISTORY
At around the same time Ayumu forged Shourai Sangai, her Konki Shuriken was created using the same remains of the Nozomi clan. She gave it a portion of her own life, which is the reason it has the powers listed above. Literally meaning "Energy Shuriken," Ayumu always has it with her, hanging by a thin cord by the side of her rugged kimono. Every so often she will sit down cleaning it and tending to it for the battles to come.
genesis
Near the Golden Age of the Feudal Era, there was a clan of "Beatuiful Hope," the Nozomi. Wealth was theirs, and they prospered and kept their bloodline alive for three hundred years. Ever since the dawn of those thirteen generations, they were known as painters.
1
The first generation made plans for a picture of a young maiden so beautiful, they wanted her to come to life and walk her way into their world when it was completed. This, of course, was only for their sake: the Nozomi wanted to be legendary. But, they knew that such a painting could never be done in their lifetimes. And so, they conjured a plan, and instructions on how to begin the painting.
2
The second generation started what the first one wished: they began to search for a maiden whose face would be used as a model for their sketch. It was incredibly hard, finding a godess among the many young women in their part of the world. Priestesses offered their faces, but were turned away. Maids, prostitutes, children and warriors were brought in to be modeled, but none were taken in. One man of the second generation of the Nozomi had a dream. A beautiful, young spirit came to him and whispered words of a different, wondrous language. She sang, she wept, she screamed, and she continued showing all human emotions in a moment. As soon as she had appeared, she vanished, as if she was never there. The next day, the Nozomi man died of a weak heart, but only after he drew the spirit maiden as she had first appeared to him. She was almost alive.
3
That man was the last of the second generation, and immediately after his burial, the third generation began. In a flash they searched far and wide for the materials they needed. The finest pelts of cattle and equines alike were searched and picked apart for the tedious work of putting together hairs for the brushes that would be used to paint the picture. Exactly one thousand brushes were made for preparation. When the final brush was put together by the only elder of the third generation, he passed away in his sleep, knowing that the next step was left for those whom he'd left behind.
4
A Nozomi maiden took it upon herself to search for the perfect wood that would be used to create paper. She had good knowledge on how to make paper, and she practiced and practiced with wood that was nearby. One day she had gone out to fetch water from the river, and soon she saw a silver tree whose bark glistened in the warm sunlight. There were hardly any dents or scratches or animals who lived within the tree. The woman hardly believed what she saw, for a tree to be this untouched was almost impossible. The task of cutting down the tree was slow and painful. Blades of every shape and size were used to slice it from the base bit by bit. Finally, by the time the woman saw her boys return from war, the tree fell, and fell and fell. The whole clan chopped off the silver pieces, pounding them and chipping them to be made into paste. When the woman was near death, what was left of the tree was drying in a hair-thin, silky smooth layer upon a wire sheet specially forged for this task. The woman passed away, leaving her two sons to take up the task of etching the first lines to create the Nozomi spirit.
5
The two sons were quite different, although they were twins. Identical on the outside, completely different within. One wanted the sketch to be done by himself, the other wanted the vice-versa. However, the first generation's instructions were to create the maiden's sketch in a completely symmetrical pattern; she was to be facing out and away from her world within the painting. Her eyes were meant to be half-open, dreamy and powerful at the same time. The twins, the fifth generation, came to a decision. They would have a contest: whoever finished their side first and was considered more lifelike was the winner. The left-handed twin would work on the right-side of the maiden's visage. The right-handed one would work on her left side. They had the same idea in their minds, and so they worked their way up from her shoes to her hair. This was their purpose for the remainder of their lives. The brothers mirrored each other in their work, and as one finished etching the maiden's arm, the other finished that part as well. Slowly they worked, and deftly the sketch came to be. By the time they reached her head, they had grown white beards, and had aged faces. The painting's eyes were last, and when the two finished, they died of exhaustion, but they died happy for their four children were of age to continue the work.
6
Four children, four tasks. The essence of the four seasons were meant to be depicted behind the maiden's portrait, according to the first generation. Two of the children were men, the other were women. One of the women was winter, and the other was summer. One of the men was in charge of sketching the mere spring, and the other was to complete a sketch of the fall. Each of the sixth generation of the Nozomi labored on all four corners of the silver paper. Spring was born and nurtured to it's green, lush health in the bottom-left; this corner represented the birth of life. Summer rampaged the top-left, blaring it's searing heat; it symbolized the prime of one's life. Old age and unwinding of life's strings and memories could be seen with the withering leaves of autumn in the top-right. And finally, the winter's wind and snow gripped the bottom-right corner; it symbolized death and dormant life. As those before had given their lives to this very painting, the four kin ceased to live, and brought more Nozomi descendants into the age-old work.
7
As the Nozomi ancestors were completely dedicated to this cycle of life and death, it became more and more like a curse. In fact, it was. When this seventh generation approached the now completed, life-like sketch of the girl, they needed to create the colors that would be used to bring it to life. Color recipes were not included in the original manual of the first generation, but they did mention to make the picture as real as possible. Each of the four Nozomi who'd previously sketched the four seasons left behind two children, for there were eight Nozomi now ready to make recipes for the paint. Each was in charge for a specific color: Red, Blue, Yellow, White, Black, Green, Purple, and Orange. All of these colors were found in the world that surrounded their home. Berries, crushed fruit, flowers and even animals were used for the dyes. Now, this seventh generation did not create the dyes; they gathered the supplies for them to be created and so made instructions for what colors to mix for what part of the painting. Red was found in roses and blood of sparrows. Blue could be found in the radiant morning glories and irises that littered the plains. Yellow was found in flowers as well, but aslo in a solution of sulphur, and so took more time to collect. Black ink found in octopuses and squids were collected not only for paint, but for the final linework. White was made of chalk in the mountains, much like the sulphur mixture for the yellow. Green was to be produced using plant fibers, mainly grass. Purple was made from a special kind of snail that was crushed to reveal the irridescent color. And finally, orange was made with what other flowers these Nozomi could find. As the last supplies and instructions for mixing the colors were made, one by one the eight were laid into the Nozomi Monastery, where all the descendants, from the very first to the present Nozomi were buried.
8
A curse it seemed, a curse it was. The eighth generation was made up of only five. One was a maiden, the rest were her younger cousins. She took charge in the inking of the girl, while her bretheren inked the seasons. Sea squid ink was used throughout the picture, as well as octopi ink. The whole picture seemed to pop off the page, twirling and swirling in the fury of nature behind the namless girl. Time and time again the Nozomi ebbed and flowed with their lives, and what happened to their ancestors came to pass to them.
9
The ninth generation of Nozomi were made up of only two children. Both of which were girls. They painted in the backgrounds of each of the seasonscapes. A bright blue sky swept behind the foliage of spring, a warmer blue was used for summer, a white, transparent blue was used for autumn's cloudy skies, and finally winter was glazed with snow-powdered horizons. With expertise they worked, and they made sure every part of it was perfect. Perfection drove them to insanity. Insanity drove them to ill health. Ill health came upon them like a shadow and took them to their resting places in the Monastery.
10
This time three boys were born; two of one maiden before them, and the other from her kin. Spring would be first to be brought to life. A spectrum of flowers littered the grassy fields, birds' silhouettes were scattered. The bottom-left corner had been filled with life. Once more perfection slaughtered the men's lives gradually, and the next generation resumed the work.
11
Each of the three men of the tenth generation had two sons, and they labored upon the summer's and autumn's essences. An unforgiving green and fiery yellow bathed the top-left corner. It was almost as if one could step straight into the three panels of the painting; it had progressed exactly like the first generation had wanted it to. Autumn was showered in leaves of gold, red, and bright yellow. The leaves looked as if though they would crumble to the touch and fall into one's hands. Eventually the painting took the men's lives with grace, passion and even gratitude for the work they had done. It was time for them to rest.
12
Only two of the six previous Nozomi sons had a child. Two girls were to take up the task of painting the harsh claw of winter in the bottom-right corner. White was used most of the time, unless grey mountains peered above the horizon. The snow was real to anyone who saw the painting, and the girls would be frightened with dreams of being frozen in the very work they labored over. The two died soon after winter's chill surfaced in the last corner; both of their faces were blue, as if they died in a blizzard.
13
A sole Nozomi man was left to finish the painting. Gone were the days of the powerful Nozomi. Gone were his mother, and his father, and everyone he'd known. This man's great-great-great-great-great-great-great-great-great-great grandfather was the one who had the vision of the maiden; the one who started it all. It was now his task to finish it. He worked his way up from her feet to her fact, painting her skin, her clothes, her armor, everything of hers the right color. Not a single mistake was made before him. He had to make sure that her eyes were not flawed, for he believed that they were the most important of all. He toiled, toiled, toiled. Day and night he slaved over her physique, and her lifelikeliness. On the day he finished, on the day he dyed her eyes with a livid turquoise, he'd given her his life. The painting was no longer a painting, but a window to the spirit's world. A door for her to pass into the real world. He backed away, astonished that she was breathing, blinking, watching him drop the brushes he'd held in his hand to create her. Her heartbeat shook the painting's edges as a drop of water ripples the surface of a still pool. When she opened her eyes, she floated out of the painting. The man, astonished, died of a heart attack, but only after uttering the word, "Ayumu," to her. His last word was both a command to "Walk your own way," and for her it was a new name. The masterpiece's title. Ayumu knew she was one of the Nozomi; she was, in fact, the very reason for their skill in art and illusions of things to make them come alive. And so, she repaid the thirteen generations by forging her sword with their skeletons and the metal from the house, and from the wire that had made the silver paper.
To this day, Ayumu walks her own way, carrying with her the remains of those who caused her genesis, keeping the Nozomi forever alive.
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[/COLOR] and I've been role playing for ALMOST THREE YEARS and I'd like to say that I'M BACK and my timezone is EST you can contact me at MY EMAIL (JUST ASK) I've read the rules so I know the word is BITCHES I found this site through TSUZUKI <3 and my favorite Inuyasha character is MOMO but on here I also play AYUMU
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THE RP SAMPLE »
Thunder...
...was not something he was used to.
Every now and then there'd be a flash of lightning he would notice from the corner of the window, which would appear as alarming as a warning from the underworld that the end was near. In response to the bright electrical lights outside, he would immediately plant the palms of his hands on his ears, not willing to let go until he felt a sort of tremor, or until he saw a few other students jolt as a result of the loud rumbles and booms from the skies.
He just hated the sounds--it wasn't like he was afraid of them, anyway. He had a high enough IQ to fully understand what caused electrical storms, but even if a scientist knows the ins and outs of his world, he will never know why he takes to avoiding mother nature's version of heavy metal.
So after a moment or two of feeling the rumble from outside that shook the floors, ceilings and halls of the Academy, Lux decided that he could now remove his hands from his ears. He was a bit tired from skipping breakfast--of course he wasn't hungry then but he didn't have time to go and eat now. It was too late for that. Yawning, he stretched, and then went back to slouching on the lower seats of the bleachers.
He tried to picture just what kind of a person would spring to life with the description he was given. He had to make it convincing as well--his voice couldn't handle the generic American chit-chat.Number Two: Mr. or Miss. Deere ; Rambunctious and usually the life of the party ; Occupation: Stock Broker.
An invisible beacon of a light bulb lit up in his mind. The hamster wheel in his brain was on a roll. Grinning, he leaped up from the seat, bounded over to the center of the room, nearly sliding off-balance because of the poor traction his red converse offered. Miraculously, although it looked like he would have spun out of control, he regained his balance and turned to face the audience with a serious face.
If there was one thing he could do with his accent, it was make it as Guido, Jersey Shore and Al Capone-ified as possible. And so, with his best Sicilian-Italian accent in action, he read his description.
"'Eyy, I'm-a Johnny Deere! In-TAH-national stock-a broka' who'll-a do youse guyz a fay-vor if yah get me some-a prime-time martini, here! How old am I? I'm-a twenty-two-year-old sen-SAY-tion, lemme tell ya! I love-a tha' parties, I love-a tha' money, I love-a da' cars! Bump me to the top an' I'll pay youse back in full--'cause that's what-a family does, eh? BUT! If you cross the line wit' me...oh, just ask-a anyone who knows me. You'll see how it-a works around here in my town--AAAH!"
All the while, Lux went about adding those oh-so-authentic Italian hand gestures and snarky facial expressions that'd go just perfectly with a power-hungry, mobster stockbroker.
But at the end, he was about to give the audience an imaginary tip of the hat when a flash-bang of thunder and lighting hit. The result was a positively freaked Lux, who was holding his hand to his chest as if his heart would bust out and cartwheel away from the storm.
A moment passed and he decided to re-do his ending with a fake tip of the hat. Upon finishing he went to stand next to Haevyn, shaking his head and on the verge of laughing at himself for being such a spaz. But he smiled through it anyway--for sure there were a few kids laughing at his spurt of creativity, along with its unexpected finish.
Out of good, genuine nature he leaned towards Haevyn and complimented her.
"'Eyy, great-a job!"
Does-a shee think Ai can really drop thees ack-sent?
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