Post by Mikkel on Apr 5, 2022 9:33:31 GMT -6
Mikkel
"If you want to see some progress, get rid of the old. Civilisations fall and new ones rise, or transform into something else – that works too. Forests burn down to ashes so that new ones can take their place, and when they do, you will find me holding an ear of maize over the wildfire, and my only regret is that I can't eat the pop corn."
I. BASICS
FULL NAME:: Mikkel
NICKNAMES:: The Rust Baron
GENDER:: Male
AGE:: ~1600
ORIENTATION:: Asexual
GAME OF ORIGIN:: Final Fantasy V
ALIGNMENT:: Chaotic
CLASSES:: Necromancer (Mastered), Blue Mage, Monk
EQUIPMENT:: Earthbreaker (Axe), Kaiser Knuckles, afull set of Mythril Armour, a summonable hang glider.
NICKNAMES:: The Rust Baron
GENDER:: Male
AGE:: ~1600
ORIENTATION:: Asexual
GAME OF ORIGIN:: Final Fantasy V
ALIGNMENT:: Chaotic
CLASSES:: Necromancer (Mastered), Blue Mage, Monk
EQUIPMENT:: Earthbreaker (Axe), Kaiser Knuckles, afull set of Mythril Armour, a summonable hang glider.
HEIGHT:: 160 cm (5'3'')
EYES/SKIN:: -
DISTINGUISHING MARKS:: A long grey beard that somehow stayed attached to his skull, and has resisted through the centuries.
II. PERSONA
Mikkel is the kind of individual one would describe as “bombastic”, except that the one in question, whoever that is, does not know what “bombastic” actually means, so they end up saying that Mikkel is high-sounding all the time, as opposed to just high-sounding – and there is a subtle difference here. Still, does this adjective not carry an ideophonic quality to it, regardless of its formal definition? Say it out loud, mouth it, feel the plosive escape from parting lips, and try to tell that one – and me, and Mikkel himself – that you do not associate it to something loud and unapologetic about it. Etymology be damned.
For him, the difference between creation and destruction as well as that between life and death is minimal enough to be entirely academic. And it is not just the difference to be irrelevant in his head: two concepts may be acknowledged as similar, yet examined as antithetical to each other, with some room for variation in representation. Sometimes it's two opposite sides of the same coin, existing back to back in eternal loneliness and mutual exclusivity, for one shall never get to see the other. Other times it's a line, be it as clearly defined as the brushstroke from a house painter or string-thin to the point of near-invisibility. In mathematics, that might be the zero that exists (or doesn't; there is no such thing as a zero that can exist without observation while staying a zero – it's by nature a conventional abstraction) uncommitted between every other real number that bothered to adopt a sign. Mikkel will smelt that coin into a puddle of hot metal, cut the line and let things muddle together into something both new and old (and what difference does it make at this point?), and kick the zero into oblivion. Or try to, because that one exists in his head too and he can't do a damn thing about it. He still thinks two out of three isn't too bad though.
Yet, what he values is both substance and dynamism. He seeks to observe change, bring about change, and bask in both the benefits and the catches. For things to change and be muddled and chaotic does not mean that they return to nothingness. Nothingness is stagnancy... And stagnancy is repugnant. He actually used other words for that, but they were not quite PG-13.
III. BACKGROUND
As one might expect of a walking and talking skeleton, Mikkel is a skilled Necromancer. He mastered the Dark Arts a long time ago, and is similarly capable of calling forth the power of a handful of unholy creatures in battle, though whenever he tries to summon them, they always find an excuse not to show up, like the sudden death of many a grandparent or a passion for riding that leads them to needing often to see somebody about some equine or other, so he can only use their powers instead in the same fashion as the average Blue Mage.
And Blue Magic is indeed Mikkel's second talent, as well as the school of magic that he employs the most on account of the destructive and energy-depleting nature of the Dark Arts. Should magic not be an option, or should he just feel like it, Mikkel can also go toe-to-phalanx and fight as a Monk. As somebody who used to be an airship designer, he's got some very rudimentary knowledge of cannoneering, although he never got the hang of creating special ammunition; he mostly focused on getting the damn things in the air and keeping them there too. He's got some summoning skills, but they're limited to a (non-magical) hang glider of his own creation.
Mikkel is naturally undead, and thus healing magic damages him. He absorbs Dark-elemental magic instead, as well as draining spells.
And Blue Magic is indeed Mikkel's second talent, as well as the school of magic that he employs the most on account of the destructive and energy-depleting nature of the Dark Arts. Should magic not be an option, or should he just feel like it, Mikkel can also go toe-to-phalanx and fight as a Monk. As somebody who used to be an airship designer, he's got some very rudimentary knowledge of cannoneering, although he never got the hang of creating special ammunition; he mostly focused on getting the damn things in the air and keeping them there too. He's got some summoning skills, but they're limited to a (non-magical) hang glider of his own creation.
Mikkel is naturally undead, and thus healing magic damages him. He absorbs Dark-elemental magic instead, as well as draining spells.
IV. HISTORY
Mikkel was born a dwarf over a thousand years ago in one of the dwarven republics of yore, in a western village among the closest to the surface, and the name of which has been lost to the sands of time, living now only in the recesses of Mikkel's own memories but rarely surfacing. It does not matter, though; it was an unremarkable hamlet, the kind that either disappears after abandonment or is eventually devoured by urban sprawl, to the extent that “sprawl” can be used to describe the expansion of the notoriously hypogean dwarven settlements.
His recollections of early childhood are few and in-between. He will not however forget the day he got separated from his parents, got lost, and walked tunnel after tunnel until he arrived to the surface. And there, for the first time, Mikkel saw the night, and in the night he saw the flight of a bat.
Growing up was a painful experience for him. It was not just people teasing him for being exceptionally lanky (by dwarf standards, which meant that he had an average build by human standards), but the gigantism he was diagnosed with in his adolescence (which gave his peers one more reason to pick on him) brought about more back aches than he had ever cared to count, as well and dozens of bumps from his attempts at getting through dwarf-sized doors. The fact that humans with the same condition tended to have it much worse was of fairly little consolation.
A budding interest in the arcane marked a significant portion of his formative years, which, combined with a fundamental aversion to subterranean life and its contraptions, led him to further isolate himself from society, until he decided to abandon it entirely and moved to the capital city of what would come to be known as the Ronka civilisation.
In Ronka, Mikkel mastered the art of engineering. He was credited for the invention of the first airship, and later, some time after his death, the creation of the system that allowed entire fortresses to take flight. Around a decade later, he would retire to private life after an altercation with the crown prince that resulted in the latter's death. Or at least that is his version. Only the Library of the Ancients may or may not contain a more accurate record of this accident.
He took residence in the eastern regions, deep within a mountain range and hidden from sight until a new dynasty rose to power. After that, he closed in on yet another nameless town, the one that would eventually become known as Carwen. Dwelling now in a cave with an entrance concealed by shrubbery, he continued his researches and observations largely undisturbed, save for the occasional knight errant, adventurer, or bear. In one occasion, it was a dragon who shared his interest in the art of magic, and that he accepted as his pupil.
This continued until one day, the village disappeared before his very eyes (or eye sockets), swallowed by the Void. As he set out to investigate, he met an odd Tonberry and a hopeful young goblin.
His recollections of early childhood are few and in-between. He will not however forget the day he got separated from his parents, got lost, and walked tunnel after tunnel until he arrived to the surface. And there, for the first time, Mikkel saw the night, and in the night he saw the flight of a bat.
Growing up was a painful experience for him. It was not just people teasing him for being exceptionally lanky (by dwarf standards, which meant that he had an average build by human standards), but the gigantism he was diagnosed with in his adolescence (which gave his peers one more reason to pick on him) brought about more back aches than he had ever cared to count, as well and dozens of bumps from his attempts at getting through dwarf-sized doors. The fact that humans with the same condition tended to have it much worse was of fairly little consolation.
A budding interest in the arcane marked a significant portion of his formative years, which, combined with a fundamental aversion to subterranean life and its contraptions, led him to further isolate himself from society, until he decided to abandon it entirely and moved to the capital city of what would come to be known as the Ronka civilisation.
In Ronka, Mikkel mastered the art of engineering. He was credited for the invention of the first airship, and later, some time after his death, the creation of the system that allowed entire fortresses to take flight. Around a decade later, he would retire to private life after an altercation with the crown prince that resulted in the latter's death. Or at least that is his version. Only the Library of the Ancients may or may not contain a more accurate record of this accident.
He took residence in the eastern regions, deep within a mountain range and hidden from sight until a new dynasty rose to power. After that, he closed in on yet another nameless town, the one that would eventually become known as Carwen. Dwelling now in a cave with an entrance concealed by shrubbery, he continued his researches and observations largely undisturbed, save for the occasional knight errant, adventurer, or bear. In one occasion, it was a dragon who shared his interest in the art of magic, and that he accepted as his pupil.
This continued until one day, the village disappeared before his very eyes (or eye sockets), swallowed by the Void. As he set out to investigate, he met an odd Tonberry and a hopeful young goblin.
V. AUTHOR
PLAYER ALIAS:: Kuma
OTHER CHARACTERS:: The Nameless Tonberry
ROLE-PLAYING EXPERIENCE:: Almost 10 years
HOW YOU FOUND US:: -
NOTES FOR CONSIDERATION:: -
ROLE-PLAY SAMPLE:: -
OTHER CHARACTERS:: The Nameless Tonberry
ROLE-PLAYING EXPERIENCE:: Almost 10 years
HOW YOU FOUND US:: -
NOTES FOR CONSIDERATION:: -
ROLE-PLAY SAMPLE:: -
