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|Tweet Topic Started: Sep 18 2011, 02:17 AM (989 Views)|
|Legacy||Sep 18 2011, 02:17 AM Post #1|
Edited by Legacy, Jul 7 2014, 11:53 PM.
|Amemarteau||Oct 11 2011, 12:00 AM Post #2|
Always having theories.
Year: Second Year
Designation/Primary Magic Principle: Telepathy
Trevor's focus in his development is on the purely mental to mental affects of the brain. This includes and is limited to powers in which he uses his own mind to directly or indirectly affect the mind of another character
Magic Spells/Special Abilities:
Trevor’s got a gift, that’s for sure. For touching people up there in their noggins. Some people say that when he gets in deep, your brain feels like it’s all full of that smoke he’s always breathing out from those cancer sticks of his. He’s been known to say it works on a few different levels, depending on how he’s working.
At any given time, anyone near him, which is to say, within thirty feet around him or so, Trevor hears a sort of buzz. Something like surface thoughts. Thought fragments, sometimes. Often, more like intent. Emotions. Probably like when you’re channel surfing on a radio and you stop before you quite make it to the station. Or when you’re listening to a song from inside a shower. That’s what he hears. At first, it just sounds like static. Sometimes it sounds familiar, but until you hit a specific beat, start to catch on to what you’re hearing, it’s pretty easy to misinterpret it a bit. He’s a mind reader, sure, but at this stage, he’s just taking a glance. He might notice you’re angry, but at a glance, he won’t know why. Or who. Or anything, really. That takes focus. Gotta tune into the right signal. But since his arrival, he's had plenty of time to practice. Enough to isolate tunes and determine their owner. And since every mind has its own tune, once he knows who's is who's, he'll never forget.
Now it used to be when he tuned into the right signal, all the other sounds just kinda drowned out, and all Trevor heard was the one he’s tuned into. That ain't the case no more. The kid can tune in deep into a fella, or even a few fellas, and still hear surface thoughts clear as before. It doesn’t require a lot of focus at this stage. Not all at once, anyways. No more than carrying a conversation does. At this stage, there’s no real way of knowing he’s in your head. No more than you’d be aware of a conversation he’d be listening in on. But when he starts to get in deeper than just what you’re thinking and feeling at the time, well, that’s when things get a little smokey.
See, besides hearing surface thoughts and maybe tapping a little into the average subconsious, Trevor can always tell three things about someone as soon as he’s tuned in. A bit like how you can usually tell what kind of music a station plays after the first few songs, but even faster. Trevor can tell what you want right now. What you want in the long run. And, most importantly, what you really want, deep down inside. The first one he can tell right away, within the first song. The second one, that takes a little bit longer, maybe a few jams. And the last one, well, that takes the whole album. He can start to piece it together right away, but it’s not quite clear until say, the second time he sees you. Looking that far into someone, again, is a subtle process. He can’t force it, and wouldn’t want to. He finds it fascinating, but not compelling. Diving headlong into someone’s wishes would be like fast forwarding a song. It just ruins the whole thing.
But then, sometimes he likes to play a new tune for you. It ain't perfect, but if nothin' else, he's a bit of a showman. He can’t quite play louder than the host mind can. That’d just be rude, after all. But it's not from a lack of skill, but rather of control. But what he can do is play a new instrument with you. Mix it up a little. Your thoughts, that is to say. See, Trevor can implant an idea. Inception. This takes time. Now, see, if it’s something you already want to do, he can make you want to do it more. That takes time, but it’s not too hard. One thing he likes to do a lot if implant a little idea, or a little feeling, and taking a peek at what comes to mind. That, again, isn’t too hard, but it’s not too invasive either. But something totally new? That’s a bit tricky. He’s gotta build it up over time. And sometimes their head gets a bit murky. If the idea is too foreign, or too different, well, that screws up the whole jam and creates some pretty harsh dissonance. Trevor hates that. So if he tries to implant an idea that just doesn’t sync with the jams the host mind’s already grooving too, well, it hurts Trevor, up in his head, and the host mind just pops right back into the old jam.
Now obviously, to go that deep, Trevor needs to be in sync with someone for a while. But once the idea is implanted, once that new addition to the tune has started, Trevor can just leave it to build up over time. Now, this depends on how complex the idea is. If it’s something simple, like making someone want to kiss him, well, he can just play that tune once, and let jam play out. But something complex, like, say, making someone want to backtalk to a parent, well, he has to guide that whole crescendo. Not all at once, but pop in every once in a while, and sit down and jam with them for a while in their head. That takes time. It takes effort. And rushing it just doesn’t work. He can push it a little bit; speed up the tempo. But the stronger he pushes, the more likely the idea will be rejected.
Now, say he wants to go beyond merely planting an idea. Say he wants to just flat out say something just in someone’s head. Well, he can try, but it’s like talking to someone in a smokey bar. It’s not always clear what’s being said, and it can get a bit uncomfortable. After a while though, if you let him, Trevor gets into a groove. Well then you’re in a private booth, with just a table, some nice chairs, and an ashtray. Trevor can hear you, you can hear Trevor, and it’s just like a conversation, except you can put stuff on that table and show ideas and images along. If you want, you can even share memories. But of course, Trevor can’t see them unless you show them to him. You have to want to show them to him. He can’t barge into your room. That would just be rude.
And after all that practice, the kid can run a few differet shows at once. Linkin' four plus him's his limit, but once a connection is made, the distance don't seem to matter none. Going this deep still takes most of his higher brain functions. So Trevor can walk, talk and perform mundane, mechanical tasks, but nothin' fancy. He could try and hold a beat, but actually playing would be tricky. Anything that he’d really have to think about or concentrate on just wouldn’t work. This holds true for the other as well, if they are fully emmersed. Sometimes whoeever Trevor’s talking to doesn’t even realize that it’s not real and just all in their head. A mere conversation, or even acting as a relay point, however, only takes up his own concentration. For everyone else, it's just like thinkin'.
Now, sometimes this goes real well for Trevor. But if things go south, well, things go real south. If someone catches on to his digging around, trying to implant ideas or rifle through desires, they can try and blow his smoke out. That takes a bit of time and a lot of willpower. Trevor’s presense feels foreign, but not invasive. So long as his tunes aren’t creating dissonance, his mind in yours doesn’t hurt, and it doesn’t feel wrong. So wanting him gone is hard, especially if you have no mental training. But still, anyone determined enough can push him out with enough time, focus and effort. And if they succeed, well, it’s like knocking over a stereo. Suddenly Trevor’s hearing everything and nothing all at once. All the static is too loud, and it’s just dissonance everywhere. Gives him a mean headache, and just tuning into anyone’s thoughts is damn well impossible for the next few minutes. And as for tuning into you, well, that’s not happening any time soon. All he gets from someone who’s pushing him out is mean, sharp static untl they let their guard down, which is usually after Trevor’s left. Of course, if Trevor doesn’t directly interact with you, and just reads off your desires and plays some inception down, there’s no real way of knowing that it’s him. Until Trevor actually interacts with you, he’s just another voice playing in your intuition, with no way of knowing that it’s him.
And just a little note about Trevor’s power. He needs a focus, to, well, focus. Now usually, it’s smoking. But it could be anything small, repetitive, and physical. Flipping a coin, rolling some dice, playing with a Yo-Yo, things like that. Just something simple and mechanical. Something he doesn’t have to think about. If he stops, everything gets fuzzy again. He can still hear surface thoughts and gather basic information, intent, the like. But if he wants to do anything deep, he needs to focus. And to focus, he needs to be doing something mechanical.
A Darker Desire
Trevor's experience in delving into the innate desires of others has opened a door he may never have wanted to see opened. While Trevor can innately understand wishes, he also innately understands that which they do not desire. Their fears. Their despairs. Their terrors.
This works simultaneously and passively in focusing his telepathy on a character.
Within focusing for one post/five minutes, Trevor inherently knows whatever the opposing character fears at the present. An example of this could be rejection from a prospective partner, the dark, or of being mugged. However, whatever the fear is, it must be something at the present. Long term terrors take more delving. And as usual, any kind of focus at all takes a little extra boost from the outside. Trevor's classic source is smoking, but any small toy or musical instrument should be sufficient. Without a catalyst, focusing on high-level telepathy is just too damn difficult.
Within 3 posts/fifteen minutes of focusing on a particular character (Which need not be necessarily concurrently), Trevor has an inherent understanding of a character's innate fears. Not necessarily their greatest, deepest fear, but an innate understanding of their active fears, phobias, tensions, stresses, and such.
Once that criteria has been met, focusing on the same character again, in a different thread/another day, will allow Trevor to know what it is the character's deepest terror(s). Trevor inherently understands this on a level matching or perhaps even superior to the target character. Which is to say, Trevor can't be wrong about this fear, at least not from a lack of clarity or context. Trevor instinctively will know exactly what it is the character fears, and innately comprehends how they would respond to various stimuli relating to it. However, this does not necessarily give him the means to act upon these fears. Assuming he ever wanted to.
Luck of the Draw
Trevor is inherently, innately lucky. Which is not to say that he is supernaturally lucky, although it certainly seems that way. Things just seem to always go his way, for some reason or another. This power is completely passive, and is not something Trevor, or anyone else, can affect or control. It's simply a universal constant.
Simply put: Trevor's odds for anything going in his favor are five states higher than that of anyone else. So, for instance, Trevor has an 86% (5/6 rather than 1/2) chance of winning in a coin toss, and only a 9% (1/11 rather than 1/6) chance at losing in Russian Roulette, versus a 50% and 17%, respectively. So long as there is a chance to be had, Trevor's are a little better. That said, it only applies to things where chance is truly a considered factor. If a power is described as having a chance to succeed or a chance to fail, then the odds are in Trevor's favor. However, anything with odds so slim they're negligible, or odds which cannot realistically be measured, do not fall under the effects of this power. And it only works once, to boot. Once the odds are played, that's all there is to it. The player can't keep breaking it down hoping things will go their way.
Note: The Player must present the unmodified and modified odds in the post for which they apply, or the power does not take effect. This can be negated if both players/author consent.
Playing the Tunes: Trevor can carry a tune fairly well. He can’t sing especially well, but he can hum a bassline, and play the piano and the guitar fairly well. He can also play the violin competently, but he doesn’t own one, so that gets a bit tricky. Trevor’s at the level of your typical high school student who took it in class. Not going to blow anyone away, but he knows what he’s doing.
Needle and a Thread: Trevor actually makes most of his own clothes. Having learned from his mother, a professional tailor, he knows a thing or two about making or repairing clothes. Now, they may not be the clothes of kings, but he always looks presentable. And he knows more than just a thing or two about fixing up a popped seam or mending a hem. If someone wants to wear it, he can probably fix it.
Little Elbow Grease, Too: Having spent the last while running his household and the shop, Trevor knows a thing or two about keeping things clean. Now this seems like it wouldn't be worth mentioning, and heck, maybe it ain't, but Trevor's the best damn dishwasher this side of the oil rigs. If there's a mess, Trevor'll be able to clean it up and fast, too. He doesn't like getting dirty, so he knows how to keep things clean. Knows a thing or too about cooking, too. Not a lot, but a thing or two.
A Fine Act
Kid's got a knack for gettin' himself into a bit of trouble, but he's got a skill to get him out of it all the same. Trevor's been acting, one way or another, his whole life. In games of chance, the kind he's fond of, a good bluff can be all the difference you need to turn it all around. So when it comes to Trevor, he's as good a bluff as they come. Trevor's in complete control of his emotional projections, reactions, expression and basic physical actions. Trevor can lie well enough to fool a professional lie detector, and act well enough to move Shakespeare, if he had to. So convincing is his performance that any other character will be inclinded to believe anything he says, so long as the premise isn't completely absurd. Of course, believin' is one thing. Actin' on what he's sayin' is a matter unto itself all t'gether.
This skill is not supernatural itself, merely a trained talent. Trevor does not need telepathy to use it, although it was trained to such supernatural levels by using telepathy to guage his success.
Symphonic Cognitive Dissonance
While ordinarily Trevor is unable to force thoughts onto others, he has found a way to reverse the effects of his own suffering onto others, through various stressful experiments. When active, Trevor is no longer able to sustain any other telepathic abilities, save completely passive ones, not including surface thoughts, which are also unavailable. However, anyone within a thirty foot radius who has not been explicitly trained against this type of mental attack will find themselves with two problems:
1. Any character affected by SCD has all of their core senses heightened to uncomfortable levels, akin to being hung over. Lights seem brighter, sounds seem louder, pain seems more severe, etcetera.
2. Any character affected by SCD is, by definition, unable to concentrate. At all. Any power, ability, skill, or other talent or technique which is described as requiring the character to "concentrate" is impossible to use for as long as SCD is active, and one round after.
This power is actually incredibly easy for Trevor to use, though it requires that Trevor be smoking. Unlike other telepathic powers, this technique is not mentally draining, and indeed, requires virtually no mental attention on Trevor's own part. It does, however, put a lot of physical strain on his mind, which would be unsustainable without nicotine, due to his addiction. Controversially, due to the chain smoking, once Trevor stops using the power, he cannot resume for at least a few rounds/minutes (whichever is shorter), and any cardio-based physical activities become very difficult. And while there may not be any hard limit to how many characters are affected (indeed, Trevor merely sends the signal out), he has no means of controlling whom it affects. Which is to say that it has no friend or foe detection.
Sleight of Hand
Trevor's got some slippery fingers and he knows it. Good thing nobody else does. Trevor's a smooth enough operator to quickly grab any object that could either be concealed in his hand, between his fingers, in his pocket or up his sleeve fast enough that other characters wouldn't notice until it was too late. This skill, like his acting, was trained by his telepathy to mastery but does not require his being locked to use it. It does help, however.
Technically, any object that is small enough to be palmed, up a sleeve or otherwise handled delicately with one hand can be pilfered, pocketed or otherwise taken by Trevor. With his own equipment, Trevor is able to seemingly "summon" objects of this nature from no where, be it a coin, a cigarette, a card or a lighter. A bullet would also be a good example. This can be done at any time without any warning or foreshadowing. So long as Trevor theoretically could have had something up his sleeve, it's considered to have always been there.
Objects on other people's persons, however, is a little bit different. Once per thread, Trevor may take any object small enough to be carried in one hand from any character at any point, so long as the object in question was visibly exposed (or suggested) and there was a point of contact made. The object can range anywhere from a PLEASED unit to a dagger or pistol, or even a ring or limiter pendant. Unless the opposing character has exceptionally preternatural self-awareness, no character should know they've been robbed until after the object is securely within Trevor's possession, though afterwards it's at the player's discretion.
P.L.E.A.S.E.D. v1.0: Poly Linguistic Enlightenment And Service Extension Device
This little device comes standard to all students enrolling at either AEA or AMTI. Using a combination of Bluetooth technology and a unique brand of communication magic, this little beauty will translate any known, human language into your native language as it's spoken with only a point-five second lag. Aesthetically, it's either blue or red pending on your school colors and clips onto the ear as if a wireless cell phone accessory. Please enjoy your stay on the Twin Campus.
N.U.P.L.E.S.E.D. V 1.0
Training Band of Evolution
Avalon and Azura Year 2 Uniforms
Current Available Vouchers:: 3
Current Available Credits: 9
Edited by Silver Fang, Apr 11 2013, 04:42 PM.
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