Sat Apr 03, 2010 1:43 am by Arhiia Concordia
Force Affiliation: Light side
Description: Force Oeuvre. Force Oeuvre is meant to be used exclusively by , or any light oriented force sensitive gifted in the art of painting, sculpting, forging, or composing. I will note that the use of a manufactured or mass produced piece of art or stone will not work. For this move to work, the user of this move must create the medium (picture, sculpture, etc.) from his own two hands. Depending on the amount of time put into the move, and the amount of detail the artist describes in his or her posts, will dictate how real the move becomes.
Now, as to what the move actually does. Force Oeuvre is basically an extremely advanced form of force illusion, and Psychometry. The move, if completed successfully, would basically take the form of a painting, sculpture, or any other piece of conceivable art. This piece of art, when touched, and when extending ones consciousness towards the item in question, would essentially take your mind, and place it within a pre-made illusion kept within the piece of art. This illusion however (depending on the amount of time spent on it), is incredibly life like, and indistinguishable in every way (again, dependent on how much time spent crafting it) from real life itself. This illusion is able to be accessed by multiple people, however, anything done to a person within the illusion, will effect there body outside of the illusion. (This is explained in depth later on.), this effect, unfortunately, cannot be changed or reversed. The type of illusion is only hindered by the imagination of the creator. However, certain types of arts work better with different illusions, (such as a vivid illusion of a wide open field, would be better suited in the medium of a piece of art depicting such. Rather than an abstract stone sculpture holding such an illusion. There is a reason for this.)
Now, the actual move is far more complicated than this, and to fully understand, one must understand how it is made. This, I will define now.
Step One: Choosing a suitable Medium and illusion.
The first step an artisan must do, is find a suitable medium. before even this, he must determine what type of illusion he will be making. Is it literal? If so, a painting would suffice. Is it abstract? Then a sculpture. Is it educational? A book then. The type of art the artisan chooses is very important. As it serves as a catalyst for the person entering the illusion. Viewing, for example, a picture of a field, will help the person entering the illusion accept the illusion, and define the laws of the illusion (explained later). After deciding on the type of illusion, the medium is then established accordingly: Literal: an empty canvas or piece of paper. Abstract: metal, wood, or stone; a sculpture. Educational: paper, or a crystal matrix (like a holocron). It is very important you define exactly what your going to do, before you actually start crafting the medium. As it is insanely hard to redo your work (both physical, and mental) after its already been done. After choosing your type of illusion, and identifying your medium, you begin step two; Storage.
Step Two: Storage
Before you even begin crafting your work. Before you even tap the hammer against the stone, before you even dip your brush in paint. You store. And what you store exactly, is . In essence, the idea is to store as much force energy as possible within the medium. Essentially turning it into a kind of force artifact. (an artifact, without the power to destroy, or enhance ones powers. The Mediums stored force energy is STRICTLY internal. To access it, one must extend ones mind "into" the medium. Even then, at this stage, the medium would have no effect on a force user. It would simply be a very very force imbued object. It would not "boost" a beings power, nor have any effect on its surroundings.) Needless to say, this is very time consuming, a large amount of force energy is needed for this move to work. Literally, a person would need to spend a week, maybe once each day, pouring every ounce of force energy they have into the medium. (I consider one week, or three months in RP time to be sufficient, if the artisan would like it even MORE powerful and realistic, they could store energy for up to a month RL time.) This process, by storing force energy within the item in question, gives the artisan two fields to work with: the medium, and the stored force energy. After a week to one month Rping time, a person is ready for the next step; crafting.
Step three: Bringing it to life, Crafting
Crafting is the most essential part to this move. As well as the most time consuming. It isn't necessarily time consuming because painting or sculpting takes a long time, but because it is required that every, single, detail, be described or represented in the piece of art. This is why a painting works best; it's easier to represent things like gravity, wind, or other such esoteric things in picture, than in a sculpture. (Though a book works to). The crafting, painting, or composing of the medium is the most important step, and here is why: As the painter dips his brush into his paint, or the sculptor takes up his hammer and chisel, he should immerse his consciousness deeply and firmly within the depths of the stored force energy. It is in this state, that he should enter a kind of mix of , and . This state, i have dubbed the simple name of "Artisan Meditation". The meaning into entering this state, is simple: By entering moving meditation, the artisans consciousness is separated from his body (In the context that his limbs move on there own accord, with little thought from the person in question.), at the same time, by using short term memory enhancement, the artisan is able to replay memories over and over again, gaining hyper accuracy. The artisan, is not going to focus on the whole memory in this state however, but a singular aspect. Take for example, a bird; the artisan dips his brush in paint, ready to paint a shriek hawk. Closing his eyes, he enters Artisan meditation. The moving meditation freeing his mind, allowing him to paint or sculpt without his true focus. In this state of calm, he then thinks of a specific memory of a shriek hawk (it is important he paints of places and experiences he has had, thus it makes it more realistic). Replaying this memory over and over again within his mind, he focuses on the memory of the shriek hawk. As he paints, perhaps a wing, he remembers there shine, the sound they make, how they folded against the birds body. And as he paints, he replays this memory over and over again, shifting focus every once and a while to a different aspect of the bird. I the end, after several hours, or perhaps even days, he might complete the bird. (depending if he was interrupted, skill level, etc.), at the end of painting the bird, via his link to the force energies inside of the painting, the artisan will have left an echo of his impressions of the bird within the painting, residing and resonating in the stored force energy. Normally, only a traumatic event would garner such an echo. But, with such a large store of force energy, and with the artisans mind directly feeding these impressions into his medium, these echoes are more easily received, and are indeed bolstered and strengthened within the medium. Much like how I said earlier, nothing outside the medium would be effected by the stored energy (as how a usual force imbued artifact works). Instead, these mediums work in a reverse fashion; they strengthen whatever is inside of them. Literally, any thoughts or impressions will be strengthened incredibly by the power stored within the medium (thus why it is so important to store enough energy within the medium BEFORE starting crafting. It would be immensely difficult, if not impossible to completely erase an echo from the medium, leading to a corrupt illusion. (Of course if weird ghost birds are your thing, go ahead). Now, you are most likely thinking: "Well, if thoughts and impressions are strengthened, wouldn't a consciousness?" and you would indeed be right. However, this will be explained later on, and why exactly these mediums wouldn't be able to be used offensively. Moving on. The artisan would spend anywhere from a few days (If your crafting something simple, sure.) to a month RL (if your crafting something really complex, such as a city, or a starships interior) crafting and painting or even writing. However, once completed crafting, the artisan is NOT done yet. There is still much to be done. This is where he moves on to the finishing touches.
Step Four: The finishing touches
These illusions are not something you just pop in and out of. In the beginning of his work, say when the painter had finished his bird, the canvas would appear through the force as a glimmering nexus of force energy, marred by a tiny speck of semi consciousness. Hardly anything note worthy. By the time that painter had finished his painting, say oh, of a Shriek hawk aviary. The painting would appear through the force as a beehive of a hundred thousand different impressions. Literally, if a person tried to access the painting with there mind, the only thing they would perceive would be an incredible flux of sensory impressions and images: the sound of birds flying, the shrieking of the hawks, the feel of stone underfoot, the smell of feathers, the feel of cold durasteel bars upon your hands, bright flashes of sunlight. Literally, the person in question trying to access the illusion would be overwhelmed by information. This "brute force" approach to entering the illusion is ultimately futile. As there is no way to properly place the consciousness among all the other snipets and flurries of impressions and information. The person, should he try to persist, would most likely be eventually driven mad. It is because of this, that the artisans crafts "The door". Literally, in every sense of the word, he creates a door. In a book, it would be a page completely dedicated to the picture of a door. In a painting, the picture of a door. In a sculpture, somewhere, a door. Always. A door. The reason is simple. When crafting the door into the medium, the artisan will specifically craft the door to be real, but will also place a very particular impression along with the door. The sense of passage, of transit, of transfer, both to, and from. Along with these impressions, the Artisans would focus, and make up a place within his own mind as to where the door leads to. It is very important that it is NOT a memory. But a made up construct of the artisans mind. The reason is simple: when a being wishes to enter the illusion, he simply focuses on the door, and physically touches it (he must physically touch it, because the medium is specifically made to retain power inside of it The act of touching the door helps establish a connection, as well as make transit into the illusion easier.). By mentally focussing on the door, he would gain the impression of passage, of transit, of travel. By pouring his consciousness fully into this, and by focussing on it completely, they would find themselves in a kind of quasi-illusion. This quasi-illusion, simply called the doorway, serves as a kind of "soft" intro into the illusion. The first impression a being would get is of a incredibly realistic door in front of them, surrounded by a free form void. While confusing, this void is not harmful. Next, the being would open this door, and step through. It is important to note that the doorway is not only symbolic, but functional. Before the being "opens" the door. There consciousness is exactly that: a consciousness. Upon opening the door though, and stepping through, the door acts as a catalyst for the person entering the illusion. Essentially, the medium is made to strengthen certain things that enter it. While it is indeed made to strengthen a mind, and it's connection to the force. It simply does NOT give a boost to the force users power. Oh no. What it does, is it strengthens the users mental bond, his connection through the force to the medium. Then, it strengthens the consciousness. More specifically the cognitive processes, and the subconscious. This, is why Oeuvre is so dangerous. By strengthening the bond the entrant made to the medium, it is practically impossible to severe without harming oneself fatally. Also, by strengthening the beings consciousness, the subconscious is boosted, and things such as gravity, wind, and other small things we usually tune out, are strengthened in the latent part of our minds. Literally, as a being "Steps" through the door, everything becomes more real. Suddenly, they find themselves walking...not merely "floating forward" in there quasi-conscious state. Suddenly, there blur slowly begins to dissolve away into more and more defined things. Splats of color define themselves into grass. Whirls of light define themselves into rays of sunshine. This transition is made from the artisan creating the door partly from his imagination. The imagination, while realistic, is exactly that: an idea. It wont have anywhere near the detail or complexity of a real memory. In other words: a perfect transitionary impression. By the time the entrant has opened the door, and walked through the door. They are in the illusion. This door will also serve as an exit out of the illusion. As, walking out of the door will weaken the bond the medium has with the actual physical mind of the entrant. Thus releasing them of its hold. It should be noted there is no limit on how many people can enter the illusion. Or how many people can enter the illusion at once. Simply put, if a group of people each had a finger on the door, then they could enter. So long as a body part touches the door, they may enter simultaneously. Also, it should be noted that upon the first person entering the illusion, any changes that he makes will be viewable by the next person entering the illusion IE: a person entering the illusion after another will see the illusion as altered by the first, NOT the original unaltered version. The Illusion will thus only "Reset" itself after ALL consciousnesses have left the illusion.
Misc Points: Interacting with the illusion
While the Artisan can try to cover as many aspects of his painting as possible. It is inherently impossible to cover every SINGLE thing. It would literally take way too much writing to describe. That, and way too much for the PC to handle anyway. This is covered by the mental strengthening and boosting. In boosting the consciousness of the entrant, small things such as the sound a cricket makes when crawling across the ground. The sound of rain. The feel of sand underfoot. Trivial, minor things. Are filled in by the entrants own mind. Literally, when the consciousness becomes one with the illusion, it is the CONSCIOUSNESS that brings the illusion to life. It is the consciousness that fills in the tiny holes. The artisan provides the details, and the general scheme by painting and sculpting. But it is the participant that truly breathes life into it. This is a double edged blade however. For, say, if a tree branch where to fall ontop of a participants head, it would indeed "hurt" him. Within the illusion, it would cut and bruise him. Outside, in the actual world, he would suffer pain relative to the injury, and a lasting headache. If say, a war zone was painted (heaven forbid) a bullet going through the participants head would shatter his skull, and send his brains flying. In the real world, he would suffer hemorrhage, brain trauma, and pain relative to the injury. Killing him. A lightsaber wielding maniac cutting off a participants arm inside of the illusion, would send pain relative to the injury through the participants body in real life. (similar to revan and kreia when kreia gets her arm cut off). In essence, any trauma you receive in the medium, will be replicated outside. though the actual removal of limbs, and dismemberment, is not effected. (though you'll have one freaking headache)
Misc Points: Your projected Mental self, and what it can do.
Your Projected mental self, once entering the doorway, is the EXACT state that you where in when you decided to enter the medium. In other words, if you where wearing a dark cloak, had a lightsaber, and where writing poetry on a piece of paper, then you would be transported into the medium with: a dark cloak, lightsaber, and paper with poetry on it. Within the medium, or even in the quasi-illusion, you cannot change your mental image. It is only before entering, before even touching the door, that you may change anything. So. if your dressed for a ball, and going into a warzone, be aware that you may or may not need to grab a weapon or to. (Of course, one would hope the artist had the common sense to link the door AWAY from the battle. But the great thing about the power is that its easily customizable) Secondly. Your projected self, once within the illusion, cannot alter the fundamentals of the illusion. The fundamentals are what the artisan has already put into place. IE: light, gravity, weather, buildings, countryside, etc. The entrant CAN manipulate these items. IE: a building placed within the illusion can be blown up, dismantled, or otherwise messed with. HOWEVER, upon leaving the illusion, the illusion resets itself, going back to the way it was before the entrant entered it. What i meant by "altering the fundamentals", is that he cannot permanently alter something within the construct. IE: completely wipe a building from existence. To do so would require many days of RP outside the medium, influencing that single piece of the medium. In otherwords, no change made within the medium will last. But any changes made on the outside of the medium will have a defining effect on what is stored inside. As such, if you want to sight see, cool. If you want to blow something up, cool. Just make sure your well away from the explosion. Otherwise, you will die.
Misc Points: Destruction / damage of the Medium
The point of destroying the medium must have crossed several peoples minds. Mainly, what would happen if it where to be destroyed, and what would happen. If the medium where destroyed without any consciousness within it, it would simply explode in a form similar to a . Basically, the medium would disintegrate, and then a shockwave of energy would be emitted, igniting flammables, and burning anything severely. On a scale of damage, basically a glorified concussion grenade. However, it should be noted, that if a consciousness where to be INSIDE the medium and it where destroyed. Then the consciousness would instantly be destroyed. It should be noted however, that if only a certain part of the medium where to be destroyed, say, if a depiction of said shriek hawk where to be meticulously burned, then the shriek hawk within the medium would be destroyed, becoming a void within the medium.
Misc Points: Where does the medium end?
When inside the medium, the boundaries of the medium are limited by the creator. For instance, a painted could simply depict an endless expanse of ground, which simply goes on forever. As such, there isn't really a boundary. Conversely, an artisan might not drawn any boundaries. In this case, the boundaries of the illusion would simply be represented by a wall of distortion...a blur...this distortion, when passed through, would simply have the effect of the entrant entering into the distortion, and then passing him back out, only facing the other direction. (In otherwords, it has the effect of letting him in, turning him around, and spitting him back out. As such, the boundaries are rather simple.
Misc Points: Why is it restricted to lightsiders?
Force Oeuvre is limited to lightsiders, due to the fact that a state of utter calm is necessary for the construction of the illusion. While it is indeed possible for a darksider to create illusions, for a dark sider to create such an illusion, the dominant emotions prone to darksiders, such as anger, hate, and etcetera, would essentially poison and color the illusion into a darker light. In the end, the illusion would eventually corrupt itself. While it is arguable that a dark sider could maintain the state of "clear" mind necessary to create the illusion. It is equally arguable that the residual dark thoughts and impressions would still eventually corrupt the illusion. Also, in extension, darksiders typically do not retain the creative (exempting the skill needed to craft sith artifacts, alchemy, and the like) edge, to create a necessary medium.
Misc Points: Is there anything remotely canon related to this?
Theres quite a few things actually, which I will list in order of priority to this conversation
1)
2) (Arguably a machine, but also arguably force imbued, due to the Rakatan's use of the force)
There are several more, but I honestly don't have them handy at the moment.
Misc Points: Regulations, and Collaborative Role Play
It should be noted, that NPC's CANNOT be used to store force energy inside the medium...come on...it's just cheating the system...to store energy within the medium, it is assumed that ONLY a PC is strong enough to store the required energies within the medium. There is NOT however, a limit on how many PC's can store energy within the medium at once. For example, a collaborative RP between several force users could be made (ALL Personal CHaracters, No NPC's), in which a kind of "Group Storing" could be done. Each PC that stores energy within the medium would essentially count for one day. In otherwords, if you had seven PC's storing energy within the medium in one day, you would have seven days worth of stored energy if you had stored it yourself. It should be noted that ALL PC's would have to be lightside to do this. And that ALL PC's would have to put there ENTIRE force reservoir into the medium. They would be drained until they rested, unable to use the force.
Misc Points: Different types of Mediums, and how they work
I shall list different types of Mediums, and how they work here. While this is by no means a COMPLETE list, its something of a general guideline for any future crafters.
├óÔé¼┬ó Paintings: Paintings are good for visual, three dimensional Illusions. The paint on the canvas will tell the entrant as to what type of illusion he is entering. Typically, a painted door, either in the form of a door on a building perhaps, or a simple door symbol on the painting will act as the doorway. Paintings are usually the preferred choice for large, vivid illusions.
├óÔé¼┬ó Sculptures: Sculptures, made out of any material, are useful for single abstract, or literal Illusions. Sculptures make very poor mediums for large Illusions based on multiple things, as typically a sculpture is based on a single thing, or a very small group of multiple things. Sculptures are thus most useful when focussing on a single item, and would be used when a particular thing, such as an illusion of a person, or a weapon or etcetera, would want to be captured in extremely fine detail. A painting, while capable of this, is something of a waste. And in the end, sculptures are extremely well fitted for visual, and especially tactile illusions.
├óÔé¼┬ó Murals: Murals are something of a variation of sculptures. Made out of stone, metal, tiles, or paint, Murals serve as the catalyst to small, but very powerful illusions, typically an event, or a pivotal battle. In short, Murals are meant to capture short, simple to medium but small, illusions. And are extremely well suited for tactile, and visual illusions.
├óÔé¼┬ó Books: Books are something of a universal Medium for Force Oeuvre. Typically, it is the ink itself, rather than the paper that force energy is stored in. It is then the writing of words that act as the crafting of the illusion. A single page of the book is usually dedicated to the depiction of a door, serving as the entrance. Oeuvre books can be dangerous however, as there particular illusion is not displayed, but rather described in words. As such, entrants be warned that they might need to read portions of the book before entering, to determine what exactly they will be experiencing. While the book approach serves as a somewhat easier process to craft and make than other mediums, as well as far easier to alter and change (as all that is require are a few removal of words), it is also has one significant drawback; The artist in question must go into EXTREME detail as to what he writes. As even a missed out word can make a large difference on the illusion. As the artisan has no picture or visual pictorial representation, he must rely on description alone to craft the illusion. Somehowever, find that the pro's outweigh the cons. Books are good for all kinds of illusions, and, again, are somewhat universal.
├óÔé¼┬ó Forging: The forging of a weapon or shield or other combative device is also not out of the question. Needless to say, these mediums are most useful for Illusions of battle and glory. Or, conversely, defeat and bitterness. Forged Mediums typically need to be made out of a lightsaber resistant material, purely for the insurance that another weapon, regardless as if it is a lightsaber, doesn't mar the surface of the medium. Forged mediums, thus, are somewhat risky. As the even what would be considered "minor" damage to a weapon can ruin an illusion. Forged Mediums are also notoriously difficult to repair, even more so than a sculpture. Thus so, Forged mediums are typically used just for show, rather than functionality. A forged Medium typically has innate moulding on its surfaces, either in the form of stained words, or visual depictions. The forged medium is an artisans last choice when making a Illusion.
├óÔé¼┬ó Tattoo's: Tattoos, while risky, are able to be used as a medium. To go about this, the ink / paint of the tattoo is used as the medium, and is used to store force energy. The crafting of the illusion would be the application of the tattoo onto the body of the person in question. However, the Tattoo medium is somewhat limited, somewhat like the Forged medium approach, as even the slightest scratch to the person body could ruin the illusion. As such, it is suggested (at the least) to keep it covered and armored). Tattoo Mediums are also somewhat limited by there complexity. As it is the crafting and depicting of a scene that acts as the catalyst, the tattoo would have to be either very large, or very complex to necessitate this. Also, the wearer of the tattoo would have to be very careful; The tattooo, being applied to the beings skin, would thus have the doorway perpetually against his skin. It would be extremely easy to inadvertently enter in and out of the illusion when fighting, or reaching out with ones mind. With practice though, this can be circumvented.
Misc Points: Corruption stages; how long it takes for the darkside to corrupt an illusion.
To be blunt, this move just isn't for anything dark side. The reason for this is this: A memory, say, of a bird. Is not inherently good or bad. A lightsider is capable of replcatimg this impression to the letter, being able to impart this "neutral" impression. A darksider though, will inheretly imprint dark and tumultous thoughts on the impression. This, simply put, will corrupt the illusion. Basically, it is the inherent darkness in something modern day, trivial, ordinary, interacting with something else of the same nature. The darkness inherent in two impression would feed off of each others power, eventually blurring and distorting the illusion, until; total destruction. The time table for this is straightforward. If a dark sider somehow managed to create said illusion, he would be unable to separate the darkness from the illusion, as it is an inherent part of him. This being said, if he somehow managed to create the illusion, it would immediately begin decaying. The first stage would be slight distortion, and erratic behavior of impressions within the illusions. Impressions, say of animals, or our beloved example of a shriekhawk, would phase in and out of existence, and, would act unnaturally IE: attacking entrants, flying into things, tearing the ground, flying aimlessly, gnawing on its own limbs, and etcetera. In something material, and non sentient, such as a building, it would begin to show signs of age, such as rot and rust, eventually, the building would crumble to the ground. The second stage would be the dismantling of the impressions themselves. Simply put, the impressions would exhibit the same symptoms as listed before, but would exist in a quasi-real state. blurred distortions in other words, ghosts of there former selves. The last stage would be complete de-fabrication of the impression, resulting in a void within the illusion. This void is identical to the "boundary wall" present in most illusion. When walked into, it will spit you back out, facing the opposite direction. These voids, in this final third stage, will slowly grow, consuming other impressions, and adding to the void, until they take over the door. Upon reaching the door, the whole illusion collapses. Thus ending the medium, and leaving you with a dark side imbued painting, which is completely worthless (as the power is contained within, and not out, it would not even be suitable as a sith artifact). The time table for this is exactly half of time used to make it. IE: if you took two days to make it, it would take a day to deteriorate. If you took a month: two weeks. And so on. It, simply, isn't usable by darksiders.
Terms and Values
├óÔé¼┬ó 1 "Day" of stored Energy, is equal to a PC emptying ALL of his power into the medium. Meaning that after the PC has stored energy, he will not be able to use the force until he rests.
├óÔé¼┬ó A Simple Description, Little Detail paragraph would look like this:
"Closing his eyes, Luke focused his power into his mind, and let go of reality. Slowly, he began to paint...drawing a building with four walls, a window, and a chimney. Around it, he painted Grass. And around that, a wood fence and a gate. On one of the sides of the building, he drew a vine, crawling up to the top of the buildings roof. On another wall, he painted a small bug, slowly making its way to a crack."
This is a poor, but acceptable paragraph for making simple Illusions.
├óÔé¼┬ó A Medium Description, Medium Detail paragraph would look like this:
"Closing his eyes slowly, Luke Skywalker focused, and let go of reality. Slowly, he began to paint...drawing a small rustic cottage with four walls, a dusty old window, and a tall red brick chimney. Around the little cottage, he painted bright green grass, and around that, a rickety old fence and with a creaky gate. On one of the cottages walls, he drew a spindly vine, reaching to the top of the house. On another, he drew a small beetle, slowly trundling towards a crack."
This is a medium quality paragraph, acceptable for making medium illusions.
├óÔé¼┬ó An Advanced Description, Advanced Detail paragraph would look like this:
" Closing his eyes slowly, Luke Skywalker blew out a steadying breath. Letting go of reality, he let his mind wander into his hard practiced Artisan state. Slowly, mixing the colors with the tip of his brush, he began to paint. Slowly, a rustic old cottage appeared on the canvas...to it, he added a dusty window, corroded with dried soap from past attempts to clean it. Next, a red brick chimney towering high and precarious above the house. Lastly, he added bright green grass, the color of grass after a morning dew, as well as a old, rickety fence, complete with a half broken gate. On inspiration, Luke spontaneously drew a vine, crawling its way up one of the cottages walls. And on another wall, a small six legged beetle, slowly trundling its way towards a crack."
This is an Advanced Paragraph, suitable for making Advanced Illusions.
├óÔé¼┬ó An Complex Description, Complex Details Paragraph would look like this:
"Slowly, quietly, Luke Skywalker closed his eyes, and let out a steadying breath. Breathing in again, he slowly blew out another breath, in an effort to calm his mind, and let go of reality. He could feel it now...the loss of perception, being replaced by the endless sea of tranquility, the vagaries of human perception falling away, only to be replaced by the tranquility and peace that only Artisan meditation could grant. Slowly, as if on it's own accord, his brush hand rose, and begin to mix the paint...he was barely aware of this though. With a soft brush stroke, he started to apply the paint to the rough canvas. Letting the force guide his work. Slowly...the pale stucco walls of a rustic cottage emerged...filled with cracks and missing chips of paint. On it, he drew a wide paned window, stained with soap scum from past attempts to clean it, and, towering far above it, a precarious looking red brick chimney, seemingly on the verge of toppling over. Around the house, he added bright green grass, the color of emeralds, sparkling like after a morning dew. Struck into the ground around the emerald field, a harsh contrast to its lushness, was a rickety old fence, rotten and warped. On this gate, a single, half broken gate hung, attached only by a few wires. Turning his attention back to the house suddenly, Lukes hand brushed out the fine details of a spindly, but beautiful vine. The vine, while covered with thorns, was covered with dozens of beautiful yellow blossoms, complimenting the little house. Off to one side, on another wall, a small six legged beetle slowly trundled its massive bulk towards a particularly large crack in the wall, its home perhaps."
This is a Complex Paragraph, suitable for Complex Illusions.
Stored Force Energy / Time Spent Crafting / Limitations to the Illusion
SIMPLE ILLUSIONS
├óÔé¼┬ó 1/4 Day Stored Energy / 1/4 Day of crafting, 1 Simple Description, Little Detail paragraphs / Simple Illusion, single object, no larger than 7x7m. Visual, and auditory. Missing tactile, taste, and smell.
├óÔé¼┬ó 1/2 Day of stored energy / 1/2 Day of crafting, 2 Simple Description, Little Detail paragraphs / Simple Illusion, single object, no larger than 8x8m. Visual, auditory, tactile, and taste present. Missing smell, and functions.
├óÔé¼┬ó 3/4 Day of Stored Energy / 3/4 Day of crafting, 3 Simple Description, Little Detail paragraphs / Simple Illusion, single object, no more than 9x9m. All sensory impressions present, Mildly functional. (IE: a blaster may be able to be taken apart, but it might not fire. A door might open to a small building, but the windows might not open and close.)
├óÔé¼┬ó 1 Day stored energy / 1 Day of crafting 4 Simple Description, Little Detail paragraphs / Simple Illusion, single object, no more than 10x10m. All sensory impressions present. Completely Functional.
MEDIUM ILLUSIONS
├óÔé¼┬ó 2 Days Stored energy / 2 Days of crafting / 5 Medium Description, Medium Detail paragraphs / Medium Illusion, no more than four objects , all no larger than 11x11m. Visual, and auditory. Missing tactile, taste, and smell.
├óÔé¼┬ó 3 Days Stored energy / 3 Days of crafting / 6 Medium Description, Medium Detail paragraphs / Medium Illusion, no more than six objects , all no larger than 15x15m. Visual, auditory, tactile, and taste present. Missing smell, and functions.
├óÔé¼┬ó 4 Days Stored energy / 4 Days of crafting / 7 Medium Description, Medium Detail paragraphs / Medium Illusion, no more than eight objects , all no larger than 19x19m. Visual, auditory, tactile, taste, and smell present. Semi Functional. (IE: a blaster may be able to be taken apart, but it might not fire. A door might open to a small building, but the windows might not open and close.)
├óÔé¼┬ó 5 Days Stored energy / 5 Days crafting / 8 Medium Description, Medium Detail paragraphs / Medium Illusion, no more than ten objects, all no larger than 23x23m. All Sensory impressions present, fully functional.
ADVANCED ILLUSIONS
├óÔé¼┬ó 6 Days Stored Energy / 6 Days of crafting / 9 Advanced Description, Advanced Detail paragraphs / Advanced Illusion, no more than twenty objects, all no larger than 25x25m. Visual, and auditory. Missing tactile, taste, and smell.
├óÔé¼┬ó 7 Days Stored Energy / 7 Days of crafting / 10 Advanced Description, Advanced Detail paragraphs / Advanced Illusion, no more than twenty five objects, all no larger than 27x27m. Visual, auditory, tactile, and taste present. Missing smell, and functions.
├óÔé¼┬ó 8 Days stored Energy / 8 Days of crafting / 11 Advanced Description, Advanced Detail paragraphs / Advanced Illusion, no more than thirty objects, all no larger than 29x29m. Visual, auditory, tactile, taste, and smell present. Semi Functional. (IE: a blaster may be able to be taken apart, but it might not fire. A door might open to a small building, but the windows might not open and close.)
├óÔé¼┬ó 9 Days of stored Energy / 9 Days of crafting / 12 Advanced Description, Advanced Detail paragraphs / Advanced Illusion, no more than thirty five objects, all no larger than 31x31m. All Sensory impressions present, fully functional.
COMPLEX ILLUSIONS
├óÔé¼┬ó 10 Days of Storing Energy / 10 Days of Crafting / 13 Complex Description, Complex Details Paragraphs / Complex Illusion, no more than forty objects, all no larger than 33x33m. Visual, and auditory. Missing tactile, taste, and smell.
├óÔé¼┬ó 11 Days of storing energy / 11 Days of Crafting / 14 Complex Description, Complex Details Paragraphs / Complex Illusion, no more than forty five objects, all no larger than 35x35m. Visual, auditory, tactile, and taste present. Missing smell, and functions.
├óÔé¼┬ó 12 Days of Storing Energy / 12 Days of crafting / 15 Complex Description, Complex Details Paragraphs / Complex Illusion, no more than fifty objects, all no larger than 37x37m. Visual, auditory, tactile, taste, and smell present. Semi Functional. (IE: a blaster may be able to be taken apart, but it might not fire. A door might open to a small building, but the windows might not open and close.)
├óÔé¼┬ó 13 Days of storing energy / 13 Days of crafting / 16 Complex Description, Complex Details Paragraphs / Complex Illusion, no more than fifty five objects, all no larger than 39x39m. All Sensory impressions present, fully functional.
(Note: This is a rough guide. The individual sensory impressions are interchangeable. IE: so long as you follow the rule of adding one impression each day, you can, say, start with smell, THEN add visual, and so on. Just know that the chart is a depiction of the LIMITATIONS put on the power. Also, the Illusion can become FAR larger than the final 26 Day Complex Illusion. So long as the creator follows the rule of: 1 Day Storing energy+1 Day crafting= +2 Meters, & +5 objects.)
Invented by Lucardo Demici & Spectre
