Post by DornKoon on Jun 3, 2023 9:21:40 GMT
Servants
Class: I suppose you would best refer to me as Caster
Alias:But with friends, you could call me Universal Genius Da Vinci-chan
True Name: But as you might have guessed, my true name is Leonardo DaVinci
History:
The Genius in Florence
I confess that few in the world have not been touched in some way by my work and the things I strived to accomplish in my "unfinished symphony". In life, I was not just a painter but also a draftsman, sculptor, architect, and engineer whose skill and intelligence, perhaps more than any other figure, epitomized the Renaissance humanist ideal. But, no one came from nowhere... and despite them seeking to call me a Natural Genius, I find the term misleading, as it implied I did not work for the things I learned. Sure, I had many willing to sponsor me over the years... but that is getting ahead of myself. So I shall start from the beginning of my life, where it always begins, my birth.
My parents were unmarried at the time of my birth. Father, Ser Piero, was a Florentine notary and landlord, and mother, Caterina, was a young peasant woman who shortly thereafter married an artisan... I sadly do not remember his name. As such, I grew up in my father's household, at his family estate. It might surprise you that I was treated very well and even seen as a "legitimate" son and therefore, received the usual elementary education of those days. In my studies, I learned reading, writing, and arithmetic. It took me several more years before I started to study Latin, at least seriously. I did, however, acquire working knowledge of it on my own before that. I will further surprise you that I did not apply myself to any form of higher mathematics and advanced mathematics or arithmetics until I was in my 30s. At that time, I began to study it diligently.
But I'm getting ahead of myself again. Let me refill my coffee. Do you have some for yourself? You've hardly touched the biscuits, Master.
I believe I was 15 when my father apprenticed me to an artist, Andrea del Verrocchio, a most brilliant man I shall forever be thankful towards. In his renowned workshop, I honed my multifaceted training skills, including painting, sculpturing and the technical-mechanical arts. I fondly remember the days, learning from my master all that he knew, the firelights in the late evenings as he worked on his latest project, with me assisting in mixing the right paint. I was but a novice in those days, young and willing.
It was about 1472 when I was accepted into the Painter's Guild of Florence, even if I remained in my teacher's workshop for five more years. After that time, I worked independently in Florence until about... 1481. You must have seen some of the work I did during those years. I was very interested in technical matters, so most of my pen and pencil drawings feature technical sketches of pumps, military weapons and mechanical apparatuses. I loved to tinker even in the earlier days. Sadly, I have no pictures to show you of what I looked like, but I suppose the past guards her secrets well.
A Genius in Milan
Anyway, I left Florence in 1482, moving to Milan to enter the service of the city's duke. I am ashamed to admit I left a few unfinished works in Florence, some I had not even started. But, you need to understand I was young and ambitious in those days. No one would be surprised that working in Duke Ludovico Sforza's brilliant court was enticing for me. I spent 17 years in Milan until the Duke fell from power in... let me think... yes, it was 1499. I was listed in the royal household as pictor et ingenious ducalis, or translated it would be “painter and engineer of the duke”. It was a bust few years as a painter, sculptor, and designer of court festivals. I was often consulted as a technical adviser in architecture, fortifications, and military matters. At times, I even served as a hydraulic and mechanical engineer.
In those 17 years, I finished six paintings, some of which you are undoubtedly familiar with. The Virgin of the Rocks, there was some legal trouble around the project. It was between the Confraternity of the Immaculate Conception, which commissioned it, and myself. I shall not bore you with the details, but it led me to create another version of the work in about 1508. I also made one of my most famous works as a painter, The Last Supper, between 1495 and 98, in the refectory of the Santa Maria delle Grazie monastery.
I also worked on a grandiose sculptural project, so I was invited to Milan in the first place: a monumental equestrian statue in bronze to be erected in honour of Francesco Sforza, the founder of the Sforza dynasty. I devoted 12 years—with interruptions—to this task. Sadly, it never was finished. Because of the imminent danger of war, the metal, ready to be poured, was used to make cannons instead, causing the project to halt. Ludovico’s fall in 1499 sealed the fate of this abortive undertaking, which was perhaps the grandest concept of a monument in the 15th century. The ensuing war left the clay model a heap of ruins. So sad. I would have liked to finish it. But such is the nature of war, I suppose.
As a master artist, I maintained an extensive workshop in Milan, employing apprentices and students. I had several students. Among my pupils at this time were Giovanni Antonio Boltraffio, Ambrogio de Predis, Bernardino de’ Conti, Francesco Napoletano, Andrea Solari, Marco d’Oggiono, and Salai.
The Borgia Years
I shall not bore you with every detail of my long life. Still, I should mention that in the summer of 1502, I entered the service of Cesare Borgia as his “senior military architect and general engineer.” As you might know, he was the notorious son of Pope Alexander VI. As commander in chief of the papal army, he sought with unexampled ruthlessness to gain control of the Papal States of Romagna and the Marches. When he enlisted my services, he was at the peak of his power and, at age 27, was undoubtedly the most compelling and feared person of his time. Being twice his age, I found myself fascinated by his personality. I spent roughly ten months travelling across the condottiere’s territories and surveying them. I also sketched some of the city plans and topographical maps.
Mona Lisa and So Much More
Over the years, I made and finished several different commissions and works. For whatever reason, the one most people today seem to link me with is the painting of the Mona Lisa. It was about 1503 to 1519; I do not remember the exact dates. Though it was a minor achievement in the large scope of my life, it has continued to follow me, as you can see when looking at me now. I shall let it be unsaid if Mona Lisa was a real woman. Some mysteries are better kept that way, and I would hate to ruin people's imagination with facts. It was also my time of intensive scientific study. I did dissections in the hospital of Santa Maria Nuova and broadened my anatomical work into a comprehensive study of the structure and function of the human form. I also made systematic observations of the flight of birds and the physical laws of currents in my hydrological studies.
I was honoured and admired by my generous patrons in Milan. Like Charles d’Amboise and King Louis XII, I confess I did enjoy my duties, largely advising in architectural matters. I made sketches for an oratory for the church of Santa Maria alla Fontana but sadly did very little painting; there was so little time for it, and architecture paid better. I had several students then, one of which became a lifelong friend, the young nobleman Francesco Melzi.
The Scientific Years, the Inventor
My scientific activity flourished during the period of 1508–1513, and I made several manuscripts on anatomy, mathematical, optical, mechanical, geological, and botanical studies. These investigations became increasingly driven by a central idea: the conviction that force and motion as basic mechanical functions produce all outward forms in organic and inorganic nature and give them their shape. Furthermore, I believe that these functioning forces operate following orderly, harmonious laws.
Last Years
Due largely to political events, I was again forced to move in 1513. and I was in my 60s during those days... so you can imagine I am not a fit young man anymore. I went to Rome, accompanied by my pupils Melzi and Salai and two studio assistants. I hoped to find employment there through a patron, Giuliano de’ Medici, brother of the new pope, Leo X. Giuliano, who gave me a suite of rooms in his Belvedere residence in the Vatican. He also gave a considerable monthly stipend, but no large commissions followed, which was a bummer. All in all, I was in Rome at a time of great artistic activity: Donato Bramante was building St. Peter’s, Raphael was painting the last rooms of the pope’s new apartments, Michelangelo was struggling to complete the tomb of Pope Julius II, and many younger artists, such as Timoteo Viti and Sodoma, were also active.
I think they found many of my notes and letters from the days, and between you and me, Master, I was not happy to be an ageing master of my craft. While working in my studio on mathematical studies and technical experiments, I kept a low profile or surveyed ancient monuments as I strolled through the city. I had few relationships with the young up-and-coming artists of the age, and I doubt they wanted to hang around an old man like myself. It was the age of the young, after all.
Personality:
How would I describe myself? Well, I have heard people describe me as rational and placid. However, I enjoy an interesting mystery or... whatever happens to catch my attention. I will jump at it with sparkling eyes and great enthusiasm in those cases. I am the kind of genius that accurately grasps one's abilities. To explain it more precisely, I know what I can and cannot do, which is an important skill, and what others can and cannot. Because I calculate, speculate and observe things with merely a glance, I can maintain my composure even in stressful times. The point is one should be composed and without being any different than usual, even if one falls into a desperate situation with no escape, and it’s no good if one isn’t careful. For me, the “unexpected” doesn’t simply occur, and even if it does occur, I enjoy assessing the situation with great interest, seeing how rare it is.
Weapon of choice:
My main weapon is this staff that displays the stars and my all-purpose combat universal gauntlet. I suppose, in a way, you could say my glasses are a weapon in itself, as I wear them for my Noble Phantasm, as a way to instantly calculate a formula for how powerful her magical attack needs to be to destroy my target. I can defend myself, even if I would rather find another solution. At the end of the day, I am still your servant, Master.
Noble Phantasm:
Uomo Universale:The world has come to associate me with legendary omnipotence, and through that collective dream shall I perform miracles for you, Master. Using a combination of my staff, gauntlet and glasses, I can flawlessly analyze targets and adjust my attacks according to what information I can find—commonly called an all-purpose, specially-made Noble Phantasm. This can be used in defence and offence, a reflective sort of Noble Phantasm that repels attacks by provisionally composing the enemy’s Noble Phantasm on the spot. In essence, my strength depends on three vital factors. How much time have I been given to analyze a target, how powerful said target is, and how much energy do I have access to through you, Master?
Skills:
Item Construction (A Rank):
I've got a knack for making decisions that carry magical energy. Regarding the mage association, I would possess an A rank. I can create things like a limited immortality potion, but other fantastic creations are well within my... wheelhouse as it where, as or when they become necessary. Among the most useful tools at my disposal is creating a spare body to use in an emergency if the body you see before you now should be destroyed. It is a very low-cost solution, so that I can do it several times. You'll find that I am deceptively difficult to destroy, Master.
Territory Creation (A Rank):
Several servants can manipulate the world around them. In my case, I possess the skill to create a workshop for myself anywhere, which is very advantageous for both of us as participants in this war. Both of us can use it, and I welcome you to use whatever tools I can provide, Master. This is a skill at the A rank, which some would rank as a "Temple", and suppose, in the sense of the word, my workshop is also my temple. In any case, it allows me to warp the internal space, making it bigger inside. But, I'm sure you noticed that as you walked inside... sadly I do not have any title such as Doctor.
Inherent Wisdom (EX Rank):
I loathe the notion that I possess wisdom as something given from birth. Anyone can be wise; saying otherwise takes away from the hard work behind everything I ever did and stood for. Yet, the universe has seen it proper to give me a Skill representing unparalleled natural knowledge. Although I don't use this Skill very often as a Servant, it heightens my abilities to create objects and utilize my workshop to far greater heights than would be possible for a mortal.
Pioneer of the Stars (EX Rank):
They call me a pioneer, and I am not foolish enough to fain humility when I know it to be true. The greatest thing I left behind and the main reason I was seen as a hero, causing a turning point in human history, was to stimulate many people in many fields of human civilizations. My work inspired them far more than others in history, and this is counting the age of gods. Voyages and challenges considered impossible turn into events that can be realized, no matter how far away the solution might seem. Now, that is the power I have been granted from the throne of heroes, to realize the impossible and reach for solutions seemingly unreachable.
Golden Rule (Body) (B Rank):
Yes, now we get down to the reason for my current form. I was a man in life, so there is nothing wrong with history. When "redesigning" myself into a woman upon being summoned, I intentionally acquired the skill for my benefit. Besides, the Mona Lisa was always such a beautiful piece of work. You ask if Mona Lisa ever was a real woman. Well, maybe... I do like to keep some secrets.
Physical appearance
While I would normally be a man, and if we went by the artistic depictions of me, I would be a bearded old man... which would not be flattering, not when I have the option to look like this. You might find the appearance familiar you see when I made the Mona Lisa. I felt it represented the ideal beauty I pursued in life, so I felt there was nothing wrong in becoming that beauty itself. The world is changing, so the desire to become a great, beautiful girl might one day become the norm. Thus, my manifesting my view of beauty seems only natural.
Clothing and Armor
That reminds me, I need to design my wardrobe before we leave, and I feel it prudent to blend in. As such, I have taken the liberty to make a few sketches of what I had in mind and also made a few that would be flattering to you, Master. If you would look here, I was thinking something elegant, a dress in red and blue would be flattering, don't you agree? Is it necessary to show off so many of my assets? My dear, the assets are there to be used... of course, I would not hide them.
In short, I want to look... what is that nice word people use nowadays?
Oh yes, sexy... I want to be sexy. Might serve us more than you think, Master.
Master
Name: Emil "The Weaver" Chase
Age: 22
Gender: Male
History
Born under a bright star
Emil was born to the prestigious Chase family, mages famous for enchantments and the usage of weaving as part of spellcrafting. Emil was one of the most gifted members of the family to be born in several generations, with tremendously well-developed magic circuits several leagues over the rest of his family. He was raised in London, and his parents were set on putting him at the clock tower as soon as possible, not wanting to let this gift go to waste. Emil was brought up as the successor to his family's Magecraft and was instructed by his mother to prioritize schooling and development over his personal interests.
He took to his studies with great enthusiasm but also developed an interest in weaving and the creation of clothes (which became his escape as it was something his family did not mind since it made his Magecraft better). Still, things would not entirely turn out the way his family had envisioned, mainly with the sudden death of Emil's father and older sister, Maggie. Emil was 16 years old at the time of their deaths, and despite it looking like an accident, he always knew there was more to it than that.
The world of mages had always been drenched in blood.
After his father and Maggie were killed, Emil continued to improve his sorcery with guidance from his mother and a few prominent Clock Towers astronomy department members, the same department Emil would join a few years later upon turning 18. He initially joined because he felt it would be the best way to uncover the culprit of the murders. To this end, and to divert attention from his private life, Emil has diligently strived to earn the admiration of his peers, even though he is secretly nihilistic, manipulative, and extremely opportunistic in nature.
Hunting down a Traitor
About two years ago, when Emil was 20, he finally managed to get an idea of how the supposed accident resulted in his father and sister's deaths. A car crash seemed unlikely, and with the assistance of a few allies, Emil uncovered a plot to undermine his family by a rival, who had used one of the family servants to plant a magecraft-based bomb in the car. It was expertly done, and the crafting of the bomb was such that it would leave close to no traces of its involvement afterwards. Still, it was imperfect and gave just enough clues for Emil to start following them earnestly.
It took a lot of work and money before Emil was able to get to the truth and the identity of who had caused the deaths.
It was his mother and mentor, Amelia.
He could not understand why she would have done such a thing and what there was to gain from killing one's own family. But Amelia explained it away by saying she had done it all for him, that his father and older sister were holding him back. Emil did not need them, and going by how much he had grown, motivated by this loss, it was well worth the sacrifice. In his mother, he saw the true wickedness of humanity and what a blind search for power could do to a person. She never saw him as an individual but an extension of herself, one with all the blessings she never had herself.
Emil ended up easily killing his mother when a fight broke out. He also claimed the Chase Family Crest from her, ensuring all the magecraft collected would not vanish after her death. Thus ended what he thought would bring him peace, but only ended up shattering much of his worldviews. He returned with a quiet resolve to face the battle that was the life waiting for him.
The Weaver and the Genius
Two years after his mother's death, Emil returned to the Clock Tower and displayed a more focused interest in studying the stars and possible futures, changed by his brutal encounter with his last family member. But, he also returned with a purpose, and several people noted that he seemed to work for a specific goal he would not reveal to anyone, with him getting his hands on several boxes with old tools, broken pottery, and scraps of old sketches.
But Emil was in search of something special.
He finally got what he was after when he found a genuine artefact constructed by Leonardo Da Vinci. It was not much, just the remains of the small model of a flying machine, but it was enough. Cautious as he was, Emil had still spent a few weeks making sure it was the genuine article before he moved on to the next part of his plan.
To perform a summoning.
Using his knowledge of the stars, combined with the right medium, ensured he could summon just the right servant. Everything worked out as he had foreseen, with the small caveat that Da Vinci consciously appeared as a beautiful woman, which took Emil slightly aback at first. Still, he was ever the opportunist, and no one would look at the pretty girl and think she was Leonardo Da Vinci, as long as he could make sure she did not spill the beans on her own... which would prove more of a challenge.
Personality:
In the world of Mages, Emil is known as hardworking, talented, and a natural genius in magecraft. Highly perceptive and good with problem-solving skills, Emil is a skilled planner and good at mapping out scenarios. Furthermore, he is very popular among his peers, adored by his family members, and known in the Clock Tower to be composed in almost any situation. He is also very intelligent, able to analyse a person's psychology fairly well and give advice when needed. The gift of conversation is his speciality, and he can casually talk himself out of many situations. He knows perfectly well when to praise or not and functions on the idea that you get more flies with honey.
From that, Emil is generally pleasant to be around due to his soft way of speaking and calm, almost serene aura. Of course, most of this is a mask, a facade he maintains to keep people at ease and his true feelings hidden. The Weaver has few to no qualms about manipulating others, be they enemies, allies, or innocents, to his advantage. Growing into his position, he quickly began to develop a cold and ruthless nature, disillusioned by the wickedness of mankind. Believing the world to be "rotten." Having seen many possible futures play out in visions, dancing among the stars on high has dulled him to man's superiority.
He is also a realist, not kidding himself about his self-importance, and he is well aware that many more powerful mages are out there. Still, Emil is decisive and driven to achieve his ambitions without faltering one bit in his beliefs; remaking the world can only be done with actions; it doesn't have to be his own actions, but actions all the same. He does have no qualms about killing, despite knowing the criminality of murder; Emil would consider his actions the ultimate "sacrifice" to help the world.
Magical preference
Stellar Weaving - Emil was born capable of manipulating no less than three of the five elements, namely ether, air, and water. As the successor to the Chase family, a small but capable lineage of mages, Emil excels in the imbuement of power, which includes the enchantment of a special kind of enforced cloth embroidered with threads of silver and infusing with his own blood. His most preferred tool for casting magecraft is a scarf, but he is also known for being able to weave magecraft into other items of clothing. As an accomplished member of the Astromancy Department of the Clock Tower, Emil's preference is drawn from the planets, stars and the constellations they create. As such, his incantations are all drawn from different constellations woven into his scarf or other pieces of cloth. Due to the material being rather common, he can readily replenish it, but the downside is that cloth is not the most sturdy material and can easily be torn and ruined by enemies.
Visual Appearance
Class: I suppose you would best refer to me as Caster
Alias:But with friends, you could call me Universal Genius Da Vinci-chan
True Name: But as you might have guessed, my true name is Leonardo DaVinci
History:
The Genius in Florence
I confess that few in the world have not been touched in some way by my work and the things I strived to accomplish in my "unfinished symphony". In life, I was not just a painter but also a draftsman, sculptor, architect, and engineer whose skill and intelligence, perhaps more than any other figure, epitomized the Renaissance humanist ideal. But, no one came from nowhere... and despite them seeking to call me a Natural Genius, I find the term misleading, as it implied I did not work for the things I learned. Sure, I had many willing to sponsor me over the years... but that is getting ahead of myself. So I shall start from the beginning of my life, where it always begins, my birth.
My parents were unmarried at the time of my birth. Father, Ser Piero, was a Florentine notary and landlord, and mother, Caterina, was a young peasant woman who shortly thereafter married an artisan... I sadly do not remember his name. As such, I grew up in my father's household, at his family estate. It might surprise you that I was treated very well and even seen as a "legitimate" son and therefore, received the usual elementary education of those days. In my studies, I learned reading, writing, and arithmetic. It took me several more years before I started to study Latin, at least seriously. I did, however, acquire working knowledge of it on my own before that. I will further surprise you that I did not apply myself to any form of higher mathematics and advanced mathematics or arithmetics until I was in my 30s. At that time, I began to study it diligently.
But I'm getting ahead of myself again. Let me refill my coffee. Do you have some for yourself? You've hardly touched the biscuits, Master.
I believe I was 15 when my father apprenticed me to an artist, Andrea del Verrocchio, a most brilliant man I shall forever be thankful towards. In his renowned workshop, I honed my multifaceted training skills, including painting, sculpturing and the technical-mechanical arts. I fondly remember the days, learning from my master all that he knew, the firelights in the late evenings as he worked on his latest project, with me assisting in mixing the right paint. I was but a novice in those days, young and willing.
It was about 1472 when I was accepted into the Painter's Guild of Florence, even if I remained in my teacher's workshop for five more years. After that time, I worked independently in Florence until about... 1481. You must have seen some of the work I did during those years. I was very interested in technical matters, so most of my pen and pencil drawings feature technical sketches of pumps, military weapons and mechanical apparatuses. I loved to tinker even in the earlier days. Sadly, I have no pictures to show you of what I looked like, but I suppose the past guards her secrets well.
A Genius in Milan
Anyway, I left Florence in 1482, moving to Milan to enter the service of the city's duke. I am ashamed to admit I left a few unfinished works in Florence, some I had not even started. But, you need to understand I was young and ambitious in those days. No one would be surprised that working in Duke Ludovico Sforza's brilliant court was enticing for me. I spent 17 years in Milan until the Duke fell from power in... let me think... yes, it was 1499. I was listed in the royal household as pictor et ingenious ducalis, or translated it would be “painter and engineer of the duke”. It was a bust few years as a painter, sculptor, and designer of court festivals. I was often consulted as a technical adviser in architecture, fortifications, and military matters. At times, I even served as a hydraulic and mechanical engineer.
In those 17 years, I finished six paintings, some of which you are undoubtedly familiar with. The Virgin of the Rocks, there was some legal trouble around the project. It was between the Confraternity of the Immaculate Conception, which commissioned it, and myself. I shall not bore you with the details, but it led me to create another version of the work in about 1508. I also made one of my most famous works as a painter, The Last Supper, between 1495 and 98, in the refectory of the Santa Maria delle Grazie monastery.
I also worked on a grandiose sculptural project, so I was invited to Milan in the first place: a monumental equestrian statue in bronze to be erected in honour of Francesco Sforza, the founder of the Sforza dynasty. I devoted 12 years—with interruptions—to this task. Sadly, it never was finished. Because of the imminent danger of war, the metal, ready to be poured, was used to make cannons instead, causing the project to halt. Ludovico’s fall in 1499 sealed the fate of this abortive undertaking, which was perhaps the grandest concept of a monument in the 15th century. The ensuing war left the clay model a heap of ruins. So sad. I would have liked to finish it. But such is the nature of war, I suppose.
As a master artist, I maintained an extensive workshop in Milan, employing apprentices and students. I had several students. Among my pupils at this time were Giovanni Antonio Boltraffio, Ambrogio de Predis, Bernardino de’ Conti, Francesco Napoletano, Andrea Solari, Marco d’Oggiono, and Salai.
The Borgia Years
I shall not bore you with every detail of my long life. Still, I should mention that in the summer of 1502, I entered the service of Cesare Borgia as his “senior military architect and general engineer.” As you might know, he was the notorious son of Pope Alexander VI. As commander in chief of the papal army, he sought with unexampled ruthlessness to gain control of the Papal States of Romagna and the Marches. When he enlisted my services, he was at the peak of his power and, at age 27, was undoubtedly the most compelling and feared person of his time. Being twice his age, I found myself fascinated by his personality. I spent roughly ten months travelling across the condottiere’s territories and surveying them. I also sketched some of the city plans and topographical maps.
Mona Lisa and So Much More
Over the years, I made and finished several different commissions and works. For whatever reason, the one most people today seem to link me with is the painting of the Mona Lisa. It was about 1503 to 1519; I do not remember the exact dates. Though it was a minor achievement in the large scope of my life, it has continued to follow me, as you can see when looking at me now. I shall let it be unsaid if Mona Lisa was a real woman. Some mysteries are better kept that way, and I would hate to ruin people's imagination with facts. It was also my time of intensive scientific study. I did dissections in the hospital of Santa Maria Nuova and broadened my anatomical work into a comprehensive study of the structure and function of the human form. I also made systematic observations of the flight of birds and the physical laws of currents in my hydrological studies.
I was honoured and admired by my generous patrons in Milan. Like Charles d’Amboise and King Louis XII, I confess I did enjoy my duties, largely advising in architectural matters. I made sketches for an oratory for the church of Santa Maria alla Fontana but sadly did very little painting; there was so little time for it, and architecture paid better. I had several students then, one of which became a lifelong friend, the young nobleman Francesco Melzi.
The Scientific Years, the Inventor
My scientific activity flourished during the period of 1508–1513, and I made several manuscripts on anatomy, mathematical, optical, mechanical, geological, and botanical studies. These investigations became increasingly driven by a central idea: the conviction that force and motion as basic mechanical functions produce all outward forms in organic and inorganic nature and give them their shape. Furthermore, I believe that these functioning forces operate following orderly, harmonious laws.
Last Years
Due largely to political events, I was again forced to move in 1513. and I was in my 60s during those days... so you can imagine I am not a fit young man anymore. I went to Rome, accompanied by my pupils Melzi and Salai and two studio assistants. I hoped to find employment there through a patron, Giuliano de’ Medici, brother of the new pope, Leo X. Giuliano, who gave me a suite of rooms in his Belvedere residence in the Vatican. He also gave a considerable monthly stipend, but no large commissions followed, which was a bummer. All in all, I was in Rome at a time of great artistic activity: Donato Bramante was building St. Peter’s, Raphael was painting the last rooms of the pope’s new apartments, Michelangelo was struggling to complete the tomb of Pope Julius II, and many younger artists, such as Timoteo Viti and Sodoma, were also active.
I think they found many of my notes and letters from the days, and between you and me, Master, I was not happy to be an ageing master of my craft. While working in my studio on mathematical studies and technical experiments, I kept a low profile or surveyed ancient monuments as I strolled through the city. I had few relationships with the young up-and-coming artists of the age, and I doubt they wanted to hang around an old man like myself. It was the age of the young, after all.
Personality:
How would I describe myself? Well, I have heard people describe me as rational and placid. However, I enjoy an interesting mystery or... whatever happens to catch my attention. I will jump at it with sparkling eyes and great enthusiasm in those cases. I am the kind of genius that accurately grasps one's abilities. To explain it more precisely, I know what I can and cannot do, which is an important skill, and what others can and cannot. Because I calculate, speculate and observe things with merely a glance, I can maintain my composure even in stressful times. The point is one should be composed and without being any different than usual, even if one falls into a desperate situation with no escape, and it’s no good if one isn’t careful. For me, the “unexpected” doesn’t simply occur, and even if it does occur, I enjoy assessing the situation with great interest, seeing how rare it is.
Weapon of choice:
My main weapon is this staff that displays the stars and my all-purpose combat universal gauntlet. I suppose, in a way, you could say my glasses are a weapon in itself, as I wear them for my Noble Phantasm, as a way to instantly calculate a formula for how powerful her magical attack needs to be to destroy my target. I can defend myself, even if I would rather find another solution. At the end of the day, I am still your servant, Master.
Noble Phantasm:
Uomo Universale:The world has come to associate me with legendary omnipotence, and through that collective dream shall I perform miracles for you, Master. Using a combination of my staff, gauntlet and glasses, I can flawlessly analyze targets and adjust my attacks according to what information I can find—commonly called an all-purpose, specially-made Noble Phantasm. This can be used in defence and offence, a reflective sort of Noble Phantasm that repels attacks by provisionally composing the enemy’s Noble Phantasm on the spot. In essence, my strength depends on three vital factors. How much time have I been given to analyze a target, how powerful said target is, and how much energy do I have access to through you, Master?
Skills:
Item Construction (A Rank):
I've got a knack for making decisions that carry magical energy. Regarding the mage association, I would possess an A rank. I can create things like a limited immortality potion, but other fantastic creations are well within my... wheelhouse as it where, as or when they become necessary. Among the most useful tools at my disposal is creating a spare body to use in an emergency if the body you see before you now should be destroyed. It is a very low-cost solution, so that I can do it several times. You'll find that I am deceptively difficult to destroy, Master.
Territory Creation (A Rank):
Several servants can manipulate the world around them. In my case, I possess the skill to create a workshop for myself anywhere, which is very advantageous for both of us as participants in this war. Both of us can use it, and I welcome you to use whatever tools I can provide, Master. This is a skill at the A rank, which some would rank as a "Temple", and suppose, in the sense of the word, my workshop is also my temple. In any case, it allows me to warp the internal space, making it bigger inside. But, I'm sure you noticed that as you walked inside... sadly I do not have any title such as Doctor.
Inherent Wisdom (EX Rank):
I loathe the notion that I possess wisdom as something given from birth. Anyone can be wise; saying otherwise takes away from the hard work behind everything I ever did and stood for. Yet, the universe has seen it proper to give me a Skill representing unparalleled natural knowledge. Although I don't use this Skill very often as a Servant, it heightens my abilities to create objects and utilize my workshop to far greater heights than would be possible for a mortal.
Pioneer of the Stars (EX Rank):
They call me a pioneer, and I am not foolish enough to fain humility when I know it to be true. The greatest thing I left behind and the main reason I was seen as a hero, causing a turning point in human history, was to stimulate many people in many fields of human civilizations. My work inspired them far more than others in history, and this is counting the age of gods. Voyages and challenges considered impossible turn into events that can be realized, no matter how far away the solution might seem. Now, that is the power I have been granted from the throne of heroes, to realize the impossible and reach for solutions seemingly unreachable.
Golden Rule (Body) (B Rank):
Yes, now we get down to the reason for my current form. I was a man in life, so there is nothing wrong with history. When "redesigning" myself into a woman upon being summoned, I intentionally acquired the skill for my benefit. Besides, the Mona Lisa was always such a beautiful piece of work. You ask if Mona Lisa ever was a real woman. Well, maybe... I do like to keep some secrets.
Physical appearance
While I would normally be a man, and if we went by the artistic depictions of me, I would be a bearded old man... which would not be flattering, not when I have the option to look like this. You might find the appearance familiar you see when I made the Mona Lisa. I felt it represented the ideal beauty I pursued in life, so I felt there was nothing wrong in becoming that beauty itself. The world is changing, so the desire to become a great, beautiful girl might one day become the norm. Thus, my manifesting my view of beauty seems only natural.
Clothing and Armor
That reminds me, I need to design my wardrobe before we leave, and I feel it prudent to blend in. As such, I have taken the liberty to make a few sketches of what I had in mind and also made a few that would be flattering to you, Master. If you would look here, I was thinking something elegant, a dress in red and blue would be flattering, don't you agree? Is it necessary to show off so many of my assets? My dear, the assets are there to be used... of course, I would not hide them.
In short, I want to look... what is that nice word people use nowadays?
Oh yes, sexy... I want to be sexy. Might serve us more than you think, Master.
Master
Name: Emil "The Weaver" Chase
Age: 22
Gender: Male
History
Born under a bright star
Emil was born to the prestigious Chase family, mages famous for enchantments and the usage of weaving as part of spellcrafting. Emil was one of the most gifted members of the family to be born in several generations, with tremendously well-developed magic circuits several leagues over the rest of his family. He was raised in London, and his parents were set on putting him at the clock tower as soon as possible, not wanting to let this gift go to waste. Emil was brought up as the successor to his family's Magecraft and was instructed by his mother to prioritize schooling and development over his personal interests.
He took to his studies with great enthusiasm but also developed an interest in weaving and the creation of clothes (which became his escape as it was something his family did not mind since it made his Magecraft better). Still, things would not entirely turn out the way his family had envisioned, mainly with the sudden death of Emil's father and older sister, Maggie. Emil was 16 years old at the time of their deaths, and despite it looking like an accident, he always knew there was more to it than that.
The world of mages had always been drenched in blood.
After his father and Maggie were killed, Emil continued to improve his sorcery with guidance from his mother and a few prominent Clock Towers astronomy department members, the same department Emil would join a few years later upon turning 18. He initially joined because he felt it would be the best way to uncover the culprit of the murders. To this end, and to divert attention from his private life, Emil has diligently strived to earn the admiration of his peers, even though he is secretly nihilistic, manipulative, and extremely opportunistic in nature.
Hunting down a Traitor
About two years ago, when Emil was 20, he finally managed to get an idea of how the supposed accident resulted in his father and sister's deaths. A car crash seemed unlikely, and with the assistance of a few allies, Emil uncovered a plot to undermine his family by a rival, who had used one of the family servants to plant a magecraft-based bomb in the car. It was expertly done, and the crafting of the bomb was such that it would leave close to no traces of its involvement afterwards. Still, it was imperfect and gave just enough clues for Emil to start following them earnestly.
It took a lot of work and money before Emil was able to get to the truth and the identity of who had caused the deaths.
It was his mother and mentor, Amelia.
He could not understand why she would have done such a thing and what there was to gain from killing one's own family. But Amelia explained it away by saying she had done it all for him, that his father and older sister were holding him back. Emil did not need them, and going by how much he had grown, motivated by this loss, it was well worth the sacrifice. In his mother, he saw the true wickedness of humanity and what a blind search for power could do to a person. She never saw him as an individual but an extension of herself, one with all the blessings she never had herself.
Emil ended up easily killing his mother when a fight broke out. He also claimed the Chase Family Crest from her, ensuring all the magecraft collected would not vanish after her death. Thus ended what he thought would bring him peace, but only ended up shattering much of his worldviews. He returned with a quiet resolve to face the battle that was the life waiting for him.
The Weaver and the Genius
Two years after his mother's death, Emil returned to the Clock Tower and displayed a more focused interest in studying the stars and possible futures, changed by his brutal encounter with his last family member. But, he also returned with a purpose, and several people noted that he seemed to work for a specific goal he would not reveal to anyone, with him getting his hands on several boxes with old tools, broken pottery, and scraps of old sketches.
But Emil was in search of something special.
He finally got what he was after when he found a genuine artefact constructed by Leonardo Da Vinci. It was not much, just the remains of the small model of a flying machine, but it was enough. Cautious as he was, Emil had still spent a few weeks making sure it was the genuine article before he moved on to the next part of his plan.
To perform a summoning.
Using his knowledge of the stars, combined with the right medium, ensured he could summon just the right servant. Everything worked out as he had foreseen, with the small caveat that Da Vinci consciously appeared as a beautiful woman, which took Emil slightly aback at first. Still, he was ever the opportunist, and no one would look at the pretty girl and think she was Leonardo Da Vinci, as long as he could make sure she did not spill the beans on her own... which would prove more of a challenge.
Personality:
In the world of Mages, Emil is known as hardworking, talented, and a natural genius in magecraft. Highly perceptive and good with problem-solving skills, Emil is a skilled planner and good at mapping out scenarios. Furthermore, he is very popular among his peers, adored by his family members, and known in the Clock Tower to be composed in almost any situation. He is also very intelligent, able to analyse a person's psychology fairly well and give advice when needed. The gift of conversation is his speciality, and he can casually talk himself out of many situations. He knows perfectly well when to praise or not and functions on the idea that you get more flies with honey.
From that, Emil is generally pleasant to be around due to his soft way of speaking and calm, almost serene aura. Of course, most of this is a mask, a facade he maintains to keep people at ease and his true feelings hidden. The Weaver has few to no qualms about manipulating others, be they enemies, allies, or innocents, to his advantage. Growing into his position, he quickly began to develop a cold and ruthless nature, disillusioned by the wickedness of mankind. Believing the world to be "rotten." Having seen many possible futures play out in visions, dancing among the stars on high has dulled him to man's superiority.
He is also a realist, not kidding himself about his self-importance, and he is well aware that many more powerful mages are out there. Still, Emil is decisive and driven to achieve his ambitions without faltering one bit in his beliefs; remaking the world can only be done with actions; it doesn't have to be his own actions, but actions all the same. He does have no qualms about killing, despite knowing the criminality of murder; Emil would consider his actions the ultimate "sacrifice" to help the world.
Magical preference
Stellar Weaving - Emil was born capable of manipulating no less than three of the five elements, namely ether, air, and water. As the successor to the Chase family, a small but capable lineage of mages, Emil excels in the imbuement of power, which includes the enchantment of a special kind of enforced cloth embroidered with threads of silver and infusing with his own blood. His most preferred tool for casting magecraft is a scarf, but he is also known for being able to weave magecraft into other items of clothing. As an accomplished member of the Astromancy Department of the Clock Tower, Emil's preference is drawn from the planets, stars and the constellations they create. As such, his incantations are all drawn from different constellations woven into his scarf or other pieces of cloth. Due to the material being rather common, he can readily replenish it, but the downside is that cloth is not the most sturdy material and can easily be torn and ruined by enemies.
Visual Appearance
