Post by Deleted on May 3, 2014 15:17:40 GMT -5
 | Jīnsīquè (Canary) Forty-seven (47) August 17th húli jīng (fox spirit) | Intersexed "homosexual" travelling "Asiatic" Opera performer |
| Jīnsīquè | ||
★ APPEARANCE
Strong and stout, yet lean all the same. Jīnsīquè is a man of modest height and of modest stature. Straight shoulders dip down into a broad chest where ribs then taper at narrow hips and long legs (void of power, but not void of shape) then commence.
His skin is browned like Indian earth with golden markings that don’t wash away. His eyes are black, but dabbed by the sands of a red desert. In contrast to this terrestrial theme, the wily hair cascading down along his body is colourless and light, prone to reflecting the pigments of his immediate environment. But, in regards to those markings, there is a time when they don’t show up:
Born by humans – one possessed by a curious fox spirit, Jīnsīquè’s birth-right happened to be passed down from spirit to him. Where blood is mixed, he cannot possess (as fox spirits are known to do) – he is simply the median between man and spirit. As a result, he has some anatomical quirks, such as nine functioning tails and a distorted face to accompany (as an infant, his mother covered up his face with a golden fox mask and kept his body bundled, saying it was ritual until he was “baptised.”). The markings are a seal that a druid elder had once placed onto him (the “baptism”), giving him a mostly humanoid appearance. As he grew older, these markings became bolder in thickness and in colour. As a child, they could be hardly seen but are now too prominent to miss. As this seal is the result of a spell, it can be undone. (Who knows what he looks like as an adult without the seal? It's one mystery this man doesn't care to solve.)
As for clothing and accessories, his heritage and profession often influence his style in traditional (yet stylised) Asiatic wears. As for miscellaneous information, he sounds like this.
★ PERSONALITY
INSIDIOUS ✰ ALOOF ✰ ADROIT ✰ PLIANT ✰ POISED ✰ VINDICTIVE ✰ MELLIFLUOUS ✰ CRYPTIC ✰ PROUD ✰ AUSTERE ✰ SAGACIOUS ✰ COMPASSIONATE ✰ NURTURING ✰ WANDERLUST ✰
*Hover for definitions. Note: personality is capable of altering through character development.
★ HISTORY
Xiang, as he was once called, was born to both a blessèd parent and a non-blessèd parent. His father – being without this enchanted prowess – wasn’t always aware that his wife was a magical being. She was a lavished woman yearning for attention and was clever enough to enhance her vocal talents with magic. As a support specialist, singing often made her audience feel refreshed and euphoric. It gained her popularity unbeknownst to many.
But alas, her fantasy crashed when she discovered that her husband had a second family. Actually, she and her son were his second family – his first lived in a humble village a week away by foot. Enraged and blinded begrudgingly, this woman possessed would ambitiously exact her revenge.
In the end, she couldn’t see her plans through – she was much too fond of her human lover to bring him to harm. However, her dramatics alarmed him (as he had already been prejudiced toward magical beings), so for her own safety (and for her son’s), she fled the vicinity and moved on to another where no one would know them.
As a single mother without anything to her name but the clothes on her body and the child latched to her hip, life became drastically difficult. Impossible it sometimes seemed. She’d sing and dance for essence until her voice became hoarse. Eventually, when she did stop singing, her spirit seemed broken – body seemed lost. Unrecognisable: that woman’s not my mother! Xiang would think. He was right. His mother’s spirit drifted from sadness. Although the legends say fox spirits are immortal, this spirit evaporated – she died.
So this woman with the same face as his mother took Xiang by the wrist, lead him to the centre of the village, and left him there for days. She watched from a distance, waiting for someone to take him in. The first person to question the boy she didn’t approve of, so she hurriedly pretended that she had simply misplaced her son and lead him astray. The same routine was repeated until he was scouted by the face of a popular opera house.
This was also when the boys’ roles in the opera would be finalised. And for some, that meant castration. Jīnsīquè was destined to become a eunuch. He had the beauty and the voice of a girl – and he was to keep those feminine attributes.
Fortunately, a new movement in the arts changed his future for the better. Women – girls – were now being recruited into the opera house so boys like Jīnsīquè didn’t have to be pinned down and cut. In fact, as puberty struck, his role was even changed to that of a man’s. The darkness of his skin was even aesthetically better for this new role as women were portrayed as fair skinned while men were rather dun.
By this time, Jīnsīquè would be able to graduate into society and perform in front of society. It was his knack for illusions that made him a top contestant amongst the dozens of others. As he captivated audience in his youth, Jīnsīquè’s fame stretched far into his twenties (by which the opera house had changed completely). Instead of playing the same role and the same story over and over again, the performers were given different roles to learn and to perfect over the years – which was unheard of in his youth. But it was a blast – a real fortune.
Behind the scenes, he and another performer (albeit, an “untouchable” consort) had a brief romance together. She became pregnant (which crashed her uprising in the entertainment business, as her livelihood prevented her from ever marrying – and even mating) and gave birth to his daughter, whom he fell in love with just as his mother had fallen for him. She was the giggly sort, the happy kind. She loved the stories he told (through illusions) and always hoped she could do the same out of admiration.
However, his daughter grew up and never acquired the ability to harness magic. She felt left out, as though she was a disappointment… so she left to find her own path so that she could make her parents proud. She was in the technology movement amongst non-wizard folk. Little did she know at the time that she would be (inevitably) driving away the types of people she loved.
Mages & magical kin alike scattered – the magically-infused opera house was abandoned in the meantime. As crowds flocked into a safe haven, Jīnsīquè and other ex-members banded together in hopes of continuing their livelihoods on the road. Death was feared, of course; however, in horrific times like these, entertainment was the best “spoonful of sugar” around.
Currently, this caravan of enchanted folk still travels around in magical territory (and sometimes in enemy territory) but it would seem that fighting is sometimes inevitable. In the most recent events, Jīnsīquè and company have been driven off course to tumble down a steep hill into the bell of druid forests. Some have died, others have been injured. Jīnsīquè still breathes.
Strong and stout, yet lean all the same. Jīnsīquè is a man of modest height and of modest stature. Straight shoulders dip down into a broad chest where ribs then taper at narrow hips and long legs (void of power, but not void of shape) then commence.
His skin is browned like Indian earth with golden markings that don’t wash away. His eyes are black, but dabbed by the sands of a red desert. In contrast to this terrestrial theme, the wily hair cascading down along his body is colourless and light, prone to reflecting the pigments of his immediate environment. But, in regards to those markings, there is a time when they don’t show up:
Born by humans – one possessed by a curious fox spirit, Jīnsīquè’s birth-right happened to be passed down from spirit to him. Where blood is mixed, he cannot possess (as fox spirits are known to do) – he is simply the median between man and spirit. As a result, he has some anatomical quirks, such as nine functioning tails and a distorted face to accompany (as an infant, his mother covered up his face with a golden fox mask and kept his body bundled, saying it was ritual until he was “baptised.”). The markings are a seal that a druid elder had once placed onto him (the “baptism”), giving him a mostly humanoid appearance. As he grew older, these markings became bolder in thickness and in colour. As a child, they could be hardly seen but are now too prominent to miss. As this seal is the result of a spell, it can be undone. (Who knows what he looks like as an adult without the seal? It's one mystery this man doesn't care to solve.)
As for clothing and accessories, his heritage and profession often influence his style in traditional (yet stylised) Asiatic wears. As for miscellaneous information, he sounds like this.
★ PERSONALITY
INSIDIOUS ✰ ALOOF ✰ ADROIT ✰ PLIANT ✰ POISED ✰ VINDICTIVE ✰ MELLIFLUOUS ✰ CRYPTIC ✰ PROUD ✰ AUSTERE ✰ SAGACIOUS ✰ COMPASSIONATE ✰ NURTURING ✰ WANDERLUST ✰
*Hover for definitions. Note: personality is capable of altering through character development.
★ HISTORY
She just stood there, singing.: ’Hǎo yī duǒ mĕi lì de mò li huāOver and over. ‘Stop,’ I’d plead. Her clothes were ratted and torn. ‘Stop’, but she kept singing, even through the rain. ‘Please, mama, let’s go home!’ And always, without fail, I’d be told ‘just a little longer, Xiang. I feel lucky today.’
Fēn fāng měi lì mǎn zhī yā… (end: 1:18)
Back then, I didn’t understand that we didn’t have a home to go back to and that this was her way of feeding the both of us. Protecting the both of us.
Xiang, as he was once called, was born to both a blessèd parent and a non-blessèd parent. His father – being without this enchanted prowess – wasn’t always aware that his wife was a magical being. She was a lavished woman yearning for attention and was clever enough to enhance her vocal talents with magic. As a support specialist, singing often made her audience feel refreshed and euphoric. It gained her popularity unbeknownst to many.
But alas, her fantasy crashed when she discovered that her husband had a second family. Actually, she and her son were his second family – his first lived in a humble village a week away by foot. Enraged and blinded begrudgingly, this woman possessed would ambitiously exact her revenge.
In the end, she couldn’t see her plans through – she was much too fond of her human lover to bring him to harm. However, her dramatics alarmed him (as he had already been prejudiced toward magical beings), so for her own safety (and for her son’s), she fled the vicinity and moved on to another where no one would know them.
As a single mother without anything to her name but the clothes on her body and the child latched to her hip, life became drastically difficult. Impossible it sometimes seemed. She’d sing and dance for essence until her voice became hoarse. Eventually, when she did stop singing, her spirit seemed broken – body seemed lost. Unrecognisable: that woman’s not my mother! Xiang would think. He was right. His mother’s spirit drifted from sadness. Although the legends say fox spirits are immortal, this spirit evaporated – she died.
So this woman with the same face as his mother took Xiang by the wrist, lead him to the centre of the village, and left him there for days. She watched from a distance, waiting for someone to take him in. The first person to question the boy she didn’t approve of, so she hurriedly pretended that she had simply misplaced her son and lead him astray. The same routine was repeated until he was scouted by the face of a popular opera house.
Stunning, that’s what he called me: stunning. I remember how he even lowered his annular spectacles so that his grey eyes could craw all over me. When I had sheepishly stepped back, he asked me for my name… So I told him: Xiang.
He was disgusted, absolutely appalled. “No, no, that won’t do!” I didn’t understand – what was wrong with my name? He continued to articulate, saying something about being ‘much too barbaric,’ but… that was my name. My name was what made me.
I wasn’t too far from fact. Names are what make people. So I became the canary – Jīnsīquè – so that I would be able to sing with the same charm and grace. It was no easy task. Every time I delivered my lines incorrectly, the teacher would shove this metal pipe-like object in my mouth and whirl it around until I bled. “Again!” he’d shout, and I do it again while blood seeped down my throat.
“Again!”
“Again!”
“Again!”
When patience wore thin, all of us boys would run laps; practise our fighting, train for the roles we were assigned, and for others’. When we were especially annoying, we would be bent over wooden boxes and have our rears whipped or paddled. The pain did not only sting the flesh on our hinds, but our genitals as well. I tried so hard not to cry, but crying meant defeat and defeat meant compassion which would later lead to my punishment’s end. I knew when to yield. While I had pride, I knew which fights were worth fighting, and which were not.
Once older and more skilled, we were then taught how to hone our magic for the sake of opera…
*Note: opera life inspired by "My Fair Concubine."
Fortunately, a new movement in the arts changed his future for the better. Women – girls – were now being recruited into the opera house so boys like Jīnsīquè didn’t have to be pinned down and cut. In fact, as puberty struck, his role was even changed to that of a man’s. The darkness of his skin was even aesthetically better for this new role as women were portrayed as fair skinned while men were rather dun.
By this time, Jīnsīquè would be able to graduate into society and perform in front of society. It was his knack for illusions that made him a top contestant amongst the dozens of others. As he captivated audience in his youth, Jīnsīquè’s fame stretched far into his twenties (by which the opera house had changed completely). Instead of playing the same role and the same story over and over again, the performers were given different roles to learn and to perfect over the years – which was unheard of in his youth. But it was a blast – a real fortune.
Behind the scenes, he and another performer (albeit, an “untouchable” consort) had a brief romance together. She became pregnant (which crashed her uprising in the entertainment business, as her livelihood prevented her from ever marrying – and even mating) and gave birth to his daughter, whom he fell in love with just as his mother had fallen for him. She was the giggly sort, the happy kind. She loved the stories he told (through illusions) and always hoped she could do the same out of admiration.
However, his daughter grew up and never acquired the ability to harness magic. She felt left out, as though she was a disappointment… so she left to find her own path so that she could make her parents proud. She was in the technology movement amongst non-wizard folk. Little did she know at the time that she would be (inevitably) driving away the types of people she loved.
My child was an ambitious and independent individual. Since she was just a sprout, she was fond of tinkering toys (like Timber blocks) and disassembling whatever she deemed interesting to see how it worked together. Of course, she was always better at taking it all apart than she was at rebuilding anything.
Neither her mother nor I had any qualms about this interesting skill. We never felt betrayed, either, when her new-found-family chased away those akin to us (those with magic) with their unusual… apparatuses. My daughter was simply misguided… and paid a hefty price her misguidance – as we all usually do.
Where is she, you wonder? I haven’t the faintest idea. The three of us have long since lost contact with each other ever since this civil war began.
Mages & magical kin alike scattered – the magically-infused opera house was abandoned in the meantime. As crowds flocked into a safe haven, Jīnsīquè and other ex-members banded together in hopes of continuing their livelihoods on the road. Death was feared, of course; however, in horrific times like these, entertainment was the best “spoonful of sugar” around.
Currently, this caravan of enchanted folk still travels around in magical territory (and sometimes in enemy territory) but it would seem that fighting is sometimes inevitable. In the most recent events, Jīnsīquè and company have been driven off course to tumble down a steep hill into the bell of druid forests. Some have died, others have been injured. Jīnsīquè still breathes.
★ MAGIC
PRIMARY SPECIALIZATION
DANCING WITH FANTASIA: SUPPORT
Rather than be the cure-all for allies, Fantasia is sometimes the bane (or entertainment) for all people alike. It is a saboteur - cursing ailments upon others or negating their buffers. It also has an affinity for tricking the eyes and other senses; it is most prominent with manipulating light and dark into co-existence where the audience perceives the unreal: illusions. Because of his mother, Jīnsīquè always had a knack at supportive magic. However, where she made everyone feel good, he makes them feel worse. It was actually his innate ability to manipulate particles of light and darkness to make illusions that got him into the entertaining business as a boy. Since then, he has been avidly honing his skills as an illusionist.
幻觉–HUÀNIUÉ (LIGHT & DARK)
(ILLUSION) Coalescing both light and dark to make something so real that it is almost indistinguishable from an epic dream – that is the aim of Huàniué. Its form can take on the shape of anything whether it be from imagination or from sight. It can seem like an actual space, one that might possibly barricade, but doesn’t actually warp space. It merely warps a person’s perception. There are times when more light is used than dark (making it very bright or bleak) or vice versa (making it very dark, almost void). The combination of the two is what makes objects three-dimensional because where there is light, there is shadow – a common fundamental. This spell is most often used during performances, but has proven to be useful during fights as well. Perhaps one of the most fondest usages was when he used illusions to tell his child bedtime stories.
His pipa serves as a conduit to channel his magic. *Note: this spell has the potential to fooling even the sense of touch when mastered.
发狂的–FĀKUÁNG DE (LIGHT)
(BERSERK) Lose control, get angry! Charge at everything and anyone in the way – that’s what this spell does, it pumps up the “flight or fight” adrenaline rush, in which it (most always) causes the afflicted to charge relentlessly. As a result, the target is incapable of making tactical decisions and is prone to hurting itself, lowering its defence while heightening its attack prowess and endurance. Often times, it’ll prevent the afflicted from using magic as well. In the rare occasion that it causes the target to choose “flight,” it’ll simply raise anxiety, disorientation, and light-headedness.
His pipa serves as a conduit to channel his magic. *Note: at current skill level, the effects don't last long and causing the "flight" response is likelier than it would be at intermediate.
催眠曲–CUĪMIÁN QŬ (DARK)
(SLEEP) As would any other lullaby, this spell is under the guise of a song. Jīnsīquè will play his pipa whilst singing this particular melody to lull the opponent to sleep. On the occasion that the sleeping isn’t bothered, he or she could very well sleep for hours (a regular night’s amount), but can be disturbed into waking with enough persistence. Sometimes this spell will make the target feel refreshed and rested, however, it can also make him or her feel sore and fatigued. This spell is mostly used with upset children – but it has also proved to be very useful when wanting to sneak by a set of guards.
His pipa serves as a conduit to channel his magic. *Note: the stronger this spell becomes, the longer the target will (if wanted) sleep with a more difficult time waking up. It could even be combined with a later-learnt spell (a dream spell). It also won't work unless the notes in the song are on key.
SECONDARY SPECIALIZATION
WHEN PARTICLE'S COLLIDE: OFFENCE
To protect, to defend, or to simply harm – there are many reason as to why offence magic was taken up. In a logical and rational stand-point, offence magic strongly compliments his support magic. Not only that, but feeling weak and vulnerable in these times is not exactly a keen idea. As he is a passionate, yet disciplined person, fire and electricity were the easiest elements for him to wield, albeit, it would be wisest to learn an colourful assortment.
天真–TIĀNZHĒ (FIRE)
(EXPLOSION) Blowing air passed pinching fingers will scatter gust "seeds" onto variable surfaces. And, upon the snap of his fingers, those seeds will ignite and cause a (mild) cackling explosion. He often combines this with Huàniué when in battle or on the stage.
*Note: this spell doesn't have a lot of force and inflicts skin wounds at most. It can also be aesthetic.
阿拉的手掌–ĀLĀ DE SHŎUZHĂNG (ELECTRICITY)
(SHOCK) Smiting, some might call it, when one’s palm cups another’s forehead and sends volts to rattle through. Other’s call it God’s Palm or Allah’s palm – maybe even God’s Wrath. This is a close-combat spell that takes electricity, course it through one’s own body (as a conduit), and send it into another. However, the voltage of this attack greatly dictates the outcome. As a beginner, it’ll merely disorientate the target, but a master in this art it could do the irreversible. There are two sides to this spell; however, meaning it can be as damaging to the caster as it is to the intended recipient. Electricity is fickle and needs to flow right through the body – if off course (should the caster shift wrongly or even lose balance), it will shock him. Depending upon the might, the damage might be irreversible. For higher skills, this spell could not only disorientate the target, but mess with his or her memory, do permanent brain damage, burn him or her, and even result in death (master level).
*Note: Jīnsīquè obviously will not reach to that advanced level.
PRIMARY SPECIALIZATION
DANCING WITH FANTASIA: SUPPORT
Rather than be the cure-all for allies, Fantasia is sometimes the bane (or entertainment) for all people alike. It is a saboteur - cursing ailments upon others or negating their buffers. It also has an affinity for tricking the eyes and other senses; it is most prominent with manipulating light and dark into co-existence where the audience perceives the unreal: illusions. Because of his mother, Jīnsīquè always had a knack at supportive magic. However, where she made everyone feel good, he makes them feel worse. It was actually his innate ability to manipulate particles of light and darkness to make illusions that got him into the entertaining business as a boy. Since then, he has been avidly honing his skills as an illusionist.
INTERMEDIATE
幻觉–HUÀNIUÉ (LIGHT & DARK)
(ILLUSION) Coalescing both light and dark to make something so real that it is almost indistinguishable from an epic dream – that is the aim of Huàniué. Its form can take on the shape of anything whether it be from imagination or from sight. It can seem like an actual space, one that might possibly barricade, but doesn’t actually warp space. It merely warps a person’s perception. There are times when more light is used than dark (making it very bright or bleak) or vice versa (making it very dark, almost void). The combination of the two is what makes objects three-dimensional because where there is light, there is shadow – a common fundamental. This spell is most often used during performances, but has proven to be useful during fights as well. Perhaps one of the most fondest usages was when he used illusions to tell his child bedtime stories.
His pipa serves as a conduit to channel his magic. *Note: this spell has the potential to fooling even the sense of touch when mastered.
BEGINNER
发狂的–FĀKUÁNG DE (LIGHT)
(BERSERK) Lose control, get angry! Charge at everything and anyone in the way – that’s what this spell does, it pumps up the “flight or fight” adrenaline rush, in which it (most always) causes the afflicted to charge relentlessly. As a result, the target is incapable of making tactical decisions and is prone to hurting itself, lowering its defence while heightening its attack prowess and endurance. Often times, it’ll prevent the afflicted from using magic as well. In the rare occasion that it causes the target to choose “flight,” it’ll simply raise anxiety, disorientation, and light-headedness.
His pipa serves as a conduit to channel his magic. *Note: at current skill level, the effects don't last long and causing the "flight" response is likelier than it would be at intermediate.
BEGINNER
催眠曲–CUĪMIÁN QŬ (DARK)
(SLEEP) As would any other lullaby, this spell is under the guise of a song. Jīnsīquè will play his pipa whilst singing this particular melody to lull the opponent to sleep. On the occasion that the sleeping isn’t bothered, he or she could very well sleep for hours (a regular night’s amount), but can be disturbed into waking with enough persistence. Sometimes this spell will make the target feel refreshed and rested, however, it can also make him or her feel sore and fatigued. This spell is mostly used with upset children – but it has also proved to be very useful when wanting to sneak by a set of guards.
His pipa serves as a conduit to channel his magic. *Note: the stronger this spell becomes, the longer the target will (if wanted) sleep with a more difficult time waking up. It could even be combined with a later-learnt spell (a dream spell). It also won't work unless the notes in the song are on key.
SECONDARY SPECIALIZATION
WHEN PARTICLE'S COLLIDE: OFFENCE
To protect, to defend, or to simply harm – there are many reason as to why offence magic was taken up. In a logical and rational stand-point, offence magic strongly compliments his support magic. Not only that, but feeling weak and vulnerable in these times is not exactly a keen idea. As he is a passionate, yet disciplined person, fire and electricity were the easiest elements for him to wield, albeit, it would be wisest to learn an colourful assortment.
BEGINNER
天真–TIĀNZHĒ (FIRE)
(EXPLOSION) Blowing air passed pinching fingers will scatter gust "seeds" onto variable surfaces. And, upon the snap of his fingers, those seeds will ignite and cause a (mild) cackling explosion. He often combines this with Huàniué when in battle or on the stage.
*Note: this spell doesn't have a lot of force and inflicts skin wounds at most. It can also be aesthetic.
BEGINNER
阿拉的手掌–ĀLĀ DE SHŎUZHĂNG (ELECTRICITY)
(SHOCK) Smiting, some might call it, when one’s palm cups another’s forehead and sends volts to rattle through. Other’s call it God’s Palm or Allah’s palm – maybe even God’s Wrath. This is a close-combat spell that takes electricity, course it through one’s own body (as a conduit), and send it into another. However, the voltage of this attack greatly dictates the outcome. As a beginner, it’ll merely disorientate the target, but a master in this art it could do the irreversible. There are two sides to this spell; however, meaning it can be as damaging to the caster as it is to the intended recipient. Electricity is fickle and needs to flow right through the body – if off course (should the caster shift wrongly or even lose balance), it will shock him. Depending upon the might, the damage might be irreversible. For higher skills, this spell could not only disorientate the target, but mess with his or her memory, do permanent brain damage, burn him or her, and even result in death (master level).
*Note: Jīnsīquè obviously will not reach to that advanced level.
MONONOKE | Kusuriuri (Dark/Exorcist), JĪNSĪQUÉ PLAYED BY ATELIER!
coded by electric of gangnam style
