Could this be the Early Charr?
A bear, a lion or a beast with what appears to be a mammalian snout, carrying a spiked club. Wearing wraps around the wrists and a loincloth.
Edit:
Ah I solved it, it's an ettin.
But new question, do you think Charr's will be a playable race?
>The Knight:
A knight’s armor is a symbol of public trust. It is made from the accumulated labor of miners, smiths, farmers, merchants, and craftsmen. By giving that armor to one person, the town is investing part of its collective effort into someone expected to face dangers that others cannot. The armor therefore represents both privilege and obligation: the knight is protected by the community so that he can protect the community in return.
A knight’s armor can be understood as a symbol of the community’s trust because it represents a major investment of labor and resources. Armor requires metal, fuel, tools, specialized craftsmanship, transport, food, and time.
When a town equips a knight, it is concentrating a portion of its collective labor into one person.
The knight receives this vestige because he is expected to take on risks that ordinary citizens cannot reasonably face themselves. The ordinary townspeople cannot all leave their responsibilities to defend the town directly, so they support someone who can fight on their behalf.
This creates an implicit social contract. The community provides the knight with equipment, status, and material support. In return, the knight is expected to defend the community with competence, courage, and restraint.
His armor is not only a military tool or a sign of rank. It is a symbol of proof that other people have given their intentions and a part of their lives in his ability to protect them.
The young knight dons their armor, and lit passion aflame. A purpose of existence.
>Spirit of War:
The spirit of war is the willingness to confront danger when survival is uncertain. It is found in the courage to advance despite fear, the discipline to endure suffering, the unselfish duty and sacrifice required to defend something beyond oneself. This is why war can produce glory. It tests people at the limits of their character. But the same conditions that create heroism also create death, grief, and lasting damage. The spirit of war is therefore both admirable and tragic: it reveals the greatness people are capable of, but often at a cost that cannot truly be repaired.
A warrior steps into a foreign place of turmoil, a condition that most people instinctively avoid. The warrior accepts fear rather than waiting for fear to disappear. The warrior moves toward an enemy who is also afraid, also determined, and also capable of killing. Behind the man the surface of the armor the warrior has been given, is all the intentions of the people that put fate in the knight. The knight delivers back the promise and faith back to those he swore to protect. The brave knight believed with conviction to what was
only a steel shell. But to the soldier it is everything.
"Death and Glory. Tragedy and Victory."
The same confrontation that creates heroes also creates widows, orphans, broken bodies, ruined families, and people who return home unable to become who they were before.
>Blood and Roses:
And when the knight has finally paid with his life, he will return to his people as he departed from them: carried aloft in the scarred steel plated coffin they entrusted to the warrior. Its plates tell the story of violence he stood against, its steel resting upon a bed of roses. The townspeople believed with conviction in what was their triumph, but to the children born with peace it was only a steel shell. Around the passing knight, the town will gather in silence, knowing that one of their own went forward so that the rest might remain.
I was thinking of turning every fantasy myth and stories into cohesion.
- Just a hobby haha it's too big
And one of the fine things about magic would be how one would go about quantifying it. I've gone to realize the relationship between divine, arcana, and primal energies.
Bear with me for a second while I unpack what my world defines as "magic".
---
That first magic would always come from the divine origin; into any case it is always relative to a world's creation. In most worlds magic cannot exist without the world. Then that would mean that magic is a gift. - This is what the divine philosophy understands. But if all magic is a gift, the existence of manipulating the world into your desires is counter intuitive to the purpose and meaning. A river of pure energy we should call the flux for the time being. A river of endless possibilities and power.
Even from the first recorded imagination of "magic" we see tablets in ancient Mesopotamia, "curses" and "ill-will" towards rivals. So, I've come to assume during my world building phase that magic must be created as a tool for selfish reasons. And selfishness creates conflict.
I came to the conclusion that magic must also have originated from war. These would be the examples of World War II, the advent of rockets. And from wars comes peace and from peace come a new technological phase and knowledge or understanding. What the war brought, these would be radars, electronic computers, and spaceships. - This is what the arcane philosophy understands.
And to the shamanic and pagans that believe in the magic stored within the world, beyond mortal will and use, primal energies from the druids and borrowed magics of the warlocks. That the world we inhabit isn't the only ecosystem which magic resides. - This is the philosophy of primal magic. Mana is a word that came from Malenesian and Polynesian cultures meaning "meaning supernatural or spiritual power" from E. Dieffenbach’s "Travels in New Zealand" which translates closer to charisma and power.
---
From this baseline I put myself to the task of quantifying it.
Numbers... Quantity in general is an abstract that we made for ourselves to better understand the world. A general example would be the difference between feet and meteres. But the beauty of numbers is that whether it may be in written in arabic or spoken chinese; in roman numerals or in an alien language. Numbers can be translated, it's universal.
So, we are in possession of casting. How do you cast magic.
In the divine sense, it is in the language and behavior that formulated the universe,
and therefore, would be outside of the realm and foreign to all things within it.
Magic would coexist at the same time in the creation of the world. But for the aesthetic role of priests and clergy inspired by Tolkien's Silmarillion creation story. It brought to light the idea of music's role. Vibrations that soothe yet it does not have the ability to command or tell. But it has emotional meaning and can interact with the world. Vibrations inspired by an aesthetic that draws loosely from resonance, and the wave-like behavior described by physics. I came to hallucinate the aesthetic, the role, the cantor, the Angels of Choires, the Trumpets of Jericho, the heavenly harps, and the description of the devil. A symbol of the instrument, to manipulate this energy, breaches the philosophy from divine into arcana. And the observations surrounding them of primal energies.
Casting must cost something. A component, a somatic call, a kinetic action, a dance, a strike, or something more complex. Appeasing the world and its god's favor. Mana points.
I've developed a complex system that is based on flux from three basic instruments with its own history of warfare that we will not discuss. An instrument A, the physical and most importantly stable form of flux that we will call "Zolt". The first who discovered it during a time of peace dropped it and it fizzled out into sparks, the onomatopoeia struck her as a joyful name. And then an instrument B, a material that is capable of storing, conducting and fully stabilizing the properties of Zolt. we will call "Uralia" for its dark, ash-like properties. A powder that can be compressed into a gem, turned into ink, or be infused with metal. These three would define an elemental configuration of threes, inspired by our own periodic table of elements that is imagined as Magical Sigils.
To set as an arbitrary base number that is a good, rounded number 5.
It is a good number set to symbolize a human hand and its 5 fingers. - for a fun touch.
Base Cost = 5; with exception of magical tools via wands, scrolls, etc.
---
And this is where I am stuck... I suck at math. :)
This body from here and so on are subject to change.
And is solely for theorycrafting the mechanics based on what I created.
It's kind of lingering between soft the flux and possibilities and the hard
crafted word or spell magic systems.
I'm currently in the process of quantifying mana via kinetic/somatic action from a spell generated. The geometry factors in and a large table of effects like burning, soaked, vaporizing, freezing, slowing. Into the movement, and into sentience (stored magic and its own magical artificial intelligence or target seeking). - The properties of these factors change the quantity of mana required.
But there are factors that can be gamified such as damage which could be a constant that can be strengthened, enlarged, minimized, defused, blocked, or negated.
The current working calculation is a compact formula:
Mana Required = ceil[(Base Cost + Sigil Cost + Geometry Cost + Range Cost + Target Cost + Aftereffect Cost + Duration Cost + Repetition Cost + Autonomy Cost) × Cast-Time Modifier]
C_final = ceil[(B + S + G + R + T + E + D + P + A) × M_cast]
Where the shapes could vary from a cone a cylinder a sphere and to a simple line "ray".
---
Example
A simple Fireball may be calculated as:
Mana Required = ceil[(5 + Fire Sigil + Sphere Geometry + Range + Burn + Duration) × Cast-Time Modifier]
---
And damage would be separately calculated as;
Separate from mana as mana is a factor to how much damage
a spell will do, while excluding it from non-damaging effects
such as "flesh to stone", "levitate", or "water-breathing".
Damage = round[(Power Density) × Contact Quality × Sigil Potency × Target Response × Damage Scale]
Where:
Power Density = Allocated Zolt or Mana ÷ Affected Geometry (Area of Effect/Area Formulas)
Contact Quality = Glancing Contact 0.25; Partial Contact 0.50; Strong Contact 0.75; Full Contact 1.0
Sigil Potency = Warm Flame 0.5; Standard Flame 1.0; Refined Combustion 1.5; Concentrated Plasma 2.0<n
Target Response = Immune 0; Strong Resistance 0.5; Moderate Resistance 0.75; Normal Response 1.0; Moderate Vulnerability 1.25; Strong Vulnerability 1.5; Deadly Vulnerability 2.0
**ceil or ceiling; round or rounding - means to round the number up to the nearest whole number.
---
The continuing phases is to create more tables for sigils
and the creative magical tools that can be used, and further exploration towards
magical circles and the schools of magic that was developed by DnD.
In the end the names are stored as a frame for the wizard who created it as a bottom-up approach.
And that all of this can be working in the background without completely ruining the experience into a calculation fiesta. - A mage could be casting a spell willy-nilly without knowing the machinations of its properties.
I got owned by \"Base Nipples\"
Scroll for video/scoreboard on the next slide.
It's not on the replay - but I find myself having too much negative space of useless information on my camera. I ruled this out as me tunnel visioning on their carry Irelia.
I remember asking this before, but it was still not as helpful,
but now that I have an example to show.
What is a good rule of thumb for having good camera placement in your experience?
Caitlyn played really well, not only was she constantly popping in and out of vision from the "base stone" but she was also blending very well with my HUD. - I potentially ruled out what I can do with my hud because it is minimized all the way.
But as you can see from the Scoreboard, my priority was Irelia.
Ahaha~ but alas I didn't expect her to restore 80% hp.
(This was a 5 stack.) We understood that Kassadin was not the play there - losing so much precedence in the early game up until level 16 feels bad.
But fuck I still feel like it was my fault lol.
I've hit a blank. I'm writing a horror story and I'm at a point where it just seems so cheap. Looking for a survival rather than looking at voodoo, chants, and rituals.
Just raw man power and tools. More in the lines of modern day or where a world isn't understood yet or fully discovered yet.
Where the enemy can be supernatural or human.
And the protagonist can be whatever.
It could even be the reverse POV.
