In the Karmic Patron system, people can bind with spirits they have affinity for. The higher the affinity they have with their spirit, the stronger the abilities derived.
In this way, people are chained to the fate of their contracted spirit, pursuing ever increasing affinity by fulfilling their spirits requests. This quest for perfect affinity is a Sisyphean task that has no end.
However, users who are at the pinnacle of spiritual proficiency and affinity, can bind with a second spirit under niche conditions. These users will display feats far above even other spirit users, at the cost of additional restrictions.
I. Conditions
In order to bind with a second spirit, the user must:
Already be bound with a spirit
be extremely proficient with their current spirit
have a strong affinity with their existing spirit
Find a suitable second spirit that is
compatible with both the User’s Karma and their existing contracted spirit
This condition is extremely rare, as most spirits will have some incompatibility with one of the existing Karmas on the user. This results in Double Spirit Users being exceptionally rare.
II. Results
As Double Spirit Users have three spirits they can draw energy from, they will display further heightened strength, durability, perception, and healing.
Second Karma: Having a second spirit will unlock a second set of abilities tied to the new spirit’s Karma.
Evolved Abilities: Having a larger pool of energy allows the User to develop their current abilities even further.
In combat, the User may choose to utilize both their Spirit’s abilities to increase their versatility, or funnel all their power into one of their Karma’s to supercharge it.
III. Costs
Maintaining good affinity with one spirit is already fairly difficult, but being tied to two different spirits becomes a virtually impossible juggling act.
One action that can appease one spirit may be against the Karma of another
Temptations from two spirits may overwhelm even the most proficient of Spirit users. They will have trouble maintaining clear thought in the maelstrom of temptations that arise from their contracted spirits.
In general, contracting double spirits is only maintainable if:
The spirits are benign, and request mainly peaceful acts of their user
Human’s gaining the favor of a higher level spirit is an exceptionally rare occurrence in the world. When it does happen, the user will undergo a Metamorphosis, and a god-like being will emerge in the world. Through the extended lifespan granted through the transformation, these entities will persist in the world for many ages.
Disaster-Type Metamorphosis:
If a User completely succumbs to the temptations of the higher level spirit, they will lose rational thought and become a disaster that besets the world.
Daemon-Type Metamorphosis:
If a User is able to maintain some form of reasoning, their thinking process will transform in order to imitate the higher level spirit they obtained. In the vast majority of cases, their thinking will become malicious and their motivations will be beyond human understanding.
More than 95% of all spirits in the world belong to trivial spirits such as trees or blades of grass. However, beings gravitate towards Karmas similar to their own. Humans Spirit Users will mostly see the spirits of other similar beings.
Likewise, monsters have spiritual affinities toward other “lower-level” spirits, and can create their own spiritual bonds.
I. Beasts of Instinct
Like human society, the wilds have numerous beasts with no spiritual bonds of any kind. Wolves, wild dogs, giant rats, etc. make up the majority of threats in the world. To ordinary people, these still pose significant danger.
II. Beasts of a Covenant
Some beasts can develop spiritual bonds just like people can.
Most commonly, they make covenants with spirits of other beasts.
These covenants grant Karmic abilities just like a human’s karmic bond.
These bonded beasts are many times stronger than their unbounded brethren, and will usually require a Spirit User to subjugate them.
III. Beasts of Enlightenment
Spirits belonging to “higher levels” of Karma almost never bond with living beings from lower levels.
Ex. a wolf would have great difficulty bonding with the spirit of a human
However, on extremely rare occasions, a beast can attain a higher level Karma.
In these cases, the Beast will turn into an Enlightened Beast.
The power they gain is many times greater than a beast with a regular spiritual bond
Beasts who are enlightened will experience a physical and mental metamorphosis that brings them closer in-line with the spirit they inherit. They are forcefully molded into a form with high affinity for their newly acquired karma.
Most commonly, they gain cunning and intelligence equal to the spirit they inherit
Some believe that humans may have originated from ancient apes who attained higher level cognitive function by binding with spirits of sentient beings.
IV. Beyond Humans
Conventional wisdom states that humans as a sentient species lie at the pinnacle of the Cycle of Rebirth. However, some believe that there may be beings on a higher level.
If spirits from such beings exist, then the same transformation that occurs in Enlightened Beasts would occur when a human bonds with these higher level spirits. They would transform into something unrecognizable from man.
Their thought processes and ambitions would evolve, into a sentience beyond human comprehension.
After someone dies, their body will wither away. However, their spirit will return to the cycle of rebirth to await their next life. In this dormant state, spirits can wait hundreds or thousands of years in order to be reborn into a suitable life.
Beings currently alive in the cycle can link with these loose spirits, inheriting their Karma for themselves. These past spirits will grant abilities based on their Karma.
These inheritances are lifelong covenants. A child who links with a loose spirit in his youth is bound to its Karma until death, unless severed by a special circumstance.
I. Spiritual Aptitude and Awakening
Different people have different aptitudes for seeing and convening with Spirits. Those with innate talent usually develop the ability to see spirits around the age of 12. Those with high aptitudes can develop a spiritual sense earlier, and those with a poor sense can develop it in old age or never at all. A spiritual sense can be forcefully developed by guidance, training, or other means for all who are determined enough.
II. Properties of Karma
A. Common Abilities
Inheritors of Karma have two sources they can draw power from(their own spirit and the spirit they are contracted with). Because of this, with talent and training they can display a level of empowered feats by simple mastery of spiritual control.
Strength
Can display exceptional strength of equivalent to ~two people
Durability
Naturally more durable than the average person.
Perception
Displays keener senses than a normal person
Healing
Heals many times faster than the average person.
Manifestation
As a user develops affinity with their spirit, its consciousness will begin to manifest. This consciousness is a mere vestige; a shadow mirroring the personality of what the spirit was before its death.
This Spirit will display primitive thought, personality, and communication and will attempt to influence the user according to its will, sometimes forcefully.
These spirits will have high insight into the nature of other spirits.
B. Unique Abilities
Karma
Spirits will have lingering Karma based on their past life which manifests as unique abilities. Every Karma has its own unique systems of power.
The strength of a Karmic ability is dependent on the affinity between the User and the Spirit and the User’s spiritual proficiency. A user can improve their affinity to their Karma over time.
III. Cost of Karma
Because the power of a Karma is tied to affinity, a Spirit may tempt the user to act according to its Fate (Ex. If bound to the spirit of a charitable doctor, it may command the User to heal the sick. If bound to the spirit of a rageful spouse, they may tempt the user to kill unfaithful people). To unskilled Spirit Users, these temptations can be indiscernible from their very own thoughts.
IV. Artifacts for Inheritance
Having a weak, unknown, or unsuitable Karma is not a risk everyone has to take. Certain groups have developed methods to capture spirits and store them through artifacts. These captured spirits can be used to inherit Karmas with known properties. By collecting powerful Karmas and documenting their abilities, groups can accumulate power and gain a large advantage over those who inherit unknown Karma.
V. Artifacts as Weaponry
Artifacts can be used to manifest a portion of the Karma they are carrying.
A sword carrying a lightning Karma may have the ability to create electrical current.
A mask carrying a perception Karma may display the ability to see through walls.
Chains carrying a water Karma might be used to suppress high temperatures.
However, as Artifact Karmas are not bound by a covenant, they have caveats for use:
Their Karma is many times weaker than an inherited Karma
Their Karma is much less versatile in its usage
Their Karma requires many times more spiritual energy to manifest
The Artifact’s loose spirit cannot be used as a source of energy so must manifest its ability through external energy provided by the wielder
Despite all these drawbacks, unbound Karmas can complement a user’s natural Karma abilities and increase a user’s versatility by many times.
VI. Karmic Backlash & Rejection
When initially bonded with a spirit, the user must have affinity with the spirit’s Karma for the initial covenant to be possible. However, as a person grows and changes overtime, they can drift away from the Karma of their bonded spirit (Ex. a User binding to a violent Karma, but mellowing out over time). This misalignment will lead to increasingly severe consequences as the User strays further away from their contracted Karma.
Progression of Karmic Rejection
Degradation of Powers
The user’s powers are affected by how much affinity they have with their spirit’s Karma. The strength of the user’s power decreases as their affinity does.
Reversal in Spiritual control
The user will find it harder to access their contracted spirit as a source of energy.
Their spirit’s energy will become closed off to them, and eventually may start siphoning the User’s spiritual energy instead.
Karmic Backlash
Eventually, the misalignment between User and Spirit can become too much, and a backlash / rejection occurs.
A backlash can come in many forms. Usually the bond with the spirit forcefully breaks. As it leaves the User, it will cripple them without doubt. More commonly, they will be left dead.
Because of the adverse effect of Karmic rejection, Users of Karma will take great care in choosing a spirit they are naturally aligned with.
This also means that a large factor in what makes a Spirit sought after is not only how strong their powers are, but how easy it is to maintain Karmic balance with the spirit.
Ex. a violent Karma can manifest powerful abilities but requires a dark mind to be in alignment.
VII.How Karma Shapes the World
Military
Strong Karmas are collected, documented, and passed down.
A Militia’s might is heavily based on the capability of their Karma users.
Obtaining a strong Karmic ability may be reason enough for a campaign.
Culture
The knowledge of spirits has shaped religions and traditions around the world.
Karmas found in one area can vary greatly from Karmas found in another.
Ex. Spirits near a volcano town are more likely to be related to heat than spirits in a fishing town. Karma users from that volcano town more commonly have fire affinities as a result.
Having a different distribution of Karma abilities can greatly change the way of life in an area.
Karmas can gain infamy or renown from the exploits of its users. (Ex. A royal lineage can pass down right-to-rule through inheritance of a Royal spirit)
Industry
Karmas can allow users to participate in trade & industry and exploit their abilities to make a living.
Diplomacy
Artifacts containing unique / historical Karmas can also be used as diplomatic tokens of trade.
Countries / Organizations known for having certain Karma users may be sought out by others in times of need.
I’m trying to learn digital art as a new creative outlet.
I started earlier this month(September 2024) on an iPad with an apple pencil. I had some previous experience with doodling on pencil and paper from trying to get into drawing many years ago, but my experience with fundamentals such as perspective, proportion, and anatomy are very rudimentary. My goal is to focus on portraits and human body drawings for now.
1 – Starting Level:
This was the baseline I started out with at the beginning of the month.
These drawings were done from imagination but all knowledge of drawing I retained from pencil & paper were only for drawing the shoulders upward. Definitely not starting from nothing, but you can see obvious areas for improvement for my fundamentals.
Day 1Day 2
Areas of Improvement:
Poor contrast: lack of values in the shadows and lights
Poor linework: these drawings have very chicken-scratchy linework. You can tell I didn’t really have confidence in my lines and at this point I didn’t realize how bad linework affected the final product.
Suspicious anatomy of hair and facial structure
2 – Drawing from Reference + Layers
I tried to move from portraits to full body but all my drawings looked REALLY disproportional. I instead moved to drawing from reference because I realized that I needed them to learn construction at my level. I also started to try using layers in my workflow which helped on iterating aspects of my drawing.
Day 13
Compared to the initial day, the values and linework do seem to be improved. Redoing linework on a separate layer from my sketch layer became an important part of my workflow after this.
Areas of Improvement:
Deconstruction & Construction: The image shown is actually pretty noticeably different than the reference. At this point, I wanted to look into deconstruction of reference into shapes and angles to get a more accurate drawing.
Linework: Even though the linework is a step up from pure chicken-scratches, you can see how they are still wobbly and unconfident. Improvement will come with time as I focus on this more
Hair: My hair here still doesn’t follow a proper system for drawing. This is likely the biggest area of improvement when reviewing this drawing.
Shading: You can see the shading here is very muddy. I tried using smudging like when drawing on pencil but I think my inexperience is quite clear. The values themselves also do not seem to have enough contrast between light and dark.
3 – Full Body Attempt:
After trying to draw from reference, I learned some more deconstruction and construction. At this point I hoped to be able to draw some full body drawings that didn’t look horrid.
day 14
Learning deconstruction helped a ton in getting semi-accurate body drawings! I think my muddy values from the last drawing also made me really want to exaggerate the contrast in this one which came out to be a great benefit. I think this piece is in-line with my best attempts on paper-and-pencil so at this point my ability to work in Digital is similar to pencil & pencil.
Areas of Improvement:
Clothes: I did not have confidence to draw the clothes from reference. I think I need to look into clothes drawing fundamentals and tutorials.
Hands and Feet: Being the first time in this process I’m trying to do full body, there obviously are some weaknesses and inexperience in drawing the body. I think the hands and feet especially are areas where I need to study how to draw.
Hair: The hair is improved from the last piece, but it still has a lot of improvement in linework and construction that is apparent. The lines are very stiff.
Shading: The shading is improved in this piece but the hair still looks like patchy in which areas are covered by virtual pigment. I used inking in the corset of this drawing, and wanted to see how it would do in hair for my next drawing.
4 – Inking:
Areas I wanted to work on were definitely hair and smooth pigment placement. I had some success in higher contrast in the last piece so I wanted to lean into that, and I also looked into how inking brushes worked on Procreate. Here is the result.
Day 17
The difference that inking brushes had in how smooth the blacks felt really amazed me! You can really tell how the contrast of darks and lights help this piece pop more than the previous ones. There are also gradual improvements in linework and shapes compared to previous pieces. Overall, I do appreciate how much more approachable inking is in Digital than in traditional mediums.
Areas of improvement:
Hand proportions: Hands on the reference picture were actually a little confusing as well. Lack of hand construction knowledge didn’t help me when trying to correct the hand proportions.
Halftones: The values for this piece are basically hard black and hard white. There is very little use of greys which I think is a complexity that I can’t implement in a way to improve the picture yet.
5 – Drawing OC using COLOR:
At this point, I feel like I gained enough experience in digital art to where it at least was preferable for me over my previous experience in pencil. Now I wanted to try to see if I could use a reference for posing and drawing my own hair, clothes, face to create a drawing as an Original Work.
Day 22 Black & WhiteDay 22 COLOR
This was practically my first time trying to draw with color. I used blending modes like multiply, color/linear burn, soft-light which are purely tools that are available in Digital Art. The funny thing is that when trying to fix my shading for color, it actually inadvertently helped my value contrast in Black & White. A lot of the hatching textures on the bag and shading are ripped from my studies in previous references. Overall, I’m fairly happy at this point with how the Digital Art workflow works for me compared to traditional.
Areas of Improvement:
Facial proportions: I think I did make some mistakes in constructing the facial proportion here.
Hands and Feet: I actually think I could draw from this construction some fairly OK feet, but I think it would still be jarring enough to be out of place in the drawing. I do need to do more focused learning for how to draw hands and feet.
Shading & Blending: This piece is using a greyscale-to-color workflow. I think I really like the process and want to get good at it in the future! However, I did use the blending layers here without really knowing what they do. Hopefully doing some more structured learning on them allows me to apply color better and also improve my shading as well.
Clothes: Just like in my first full-body drawing, these clothes I drew and very form fitting as I do not have the confidence in drawing more baggy clothes with more complex folds.
6 – More on Shading / Light:
This piece was drawing someone else’s character description, focusing more on learning shading / light. The shading of the last piece (day 22) used more of the reference shading, while this piece was my try at shading from imagination from the existing forms present. There are things I find stronger in the previous piece, but I think there’s a bunch of things I learned from this one.
trying to imitate bounce light from the floor / hair onto other parts of the body
form of the face is notably a bit better
learned to use hues as shadows instead of multiplying pure black
Day 30
Areas of Improvement:
Hair: Hair is the biggest area of improvement that could improve this piece. Separation of front, middle, and back hair seems fairly poor. Most noticeable in how the bangs seem like a clip-on
Shadow selection: I think the levels of shadows in this piece are inconsistent. For example, the underside of the legs seems like it should have a stronger shadow than the dress since it’s fully covered. However, if I shaded it too dark then the form of the body would seem a bit vague.
Reflection
I think I’m very happy with how much I’ve learned in this first transition into Digital Drawing. A lot of the improvement shown is actually relearning a lot of things in Digital but I also think Digital allows fast iteration that enables structured learning in a much faster way. If I had to try to relearn to draw again on pencil & paper, I feel like I’d plateau around the Day 13 mark because the improvement I did see after that was due to the approachability of Digital(inking, coloring, deconstruction & construction). Most importantly though, I think I’ve hit the point where I’m having a lot of fun drawing again and hopefully I can stick to it in the long term!
While it may not be the definitive Magnum Opus of Tarintino, Django is the most rewatchable film in his filmography for me. It feels like a “guilty pleasure” film, even though it definitely is very well made so there’s nothing to be guilty over! The reason for this is because Django scratches many primal itches: revenge, self-growth, and simple power fantasy. It’s a lot like why many people read/watch Isekai stories even when they repeat the same story beats ad nauseum. I will never get sick of watching Django find success in the cruel world this film takes place in.
I watched this out-of-theater with subtitles on so I didn’t have to experience the same issues that many found with this film at launch. I think that this film is a competent Nolan film with all of his Nolanisms cranked up to 10. The sound mixing is a mess for people without “optimal cinema setups”, the dialogue is hard to follow and some of the characters are not relatable or well developed at all. However, I don’t think the plot is as “nonsensical” as some make it out to be. I think the way the film handles “time-reversed” things make sense (at least in universe to the average audience member) and the logic stays consistent throughout the movie. The gimmick gives way for Nolan to do what he does best, make big spectacle to really WOW the audience. It definitely is not my favorite Nolan film, but in no way is it a film I failed to get enjoyment out of. 7/10
Playing a classic Queen’s pawn or King’s pawn opening is way too theory intensive. For each major opening you have to memorize multiple lines of theory to play at a semi-competent level, and playing chess very sporadically, I don’t relish the “relearning” process in order to start enjoying the game again.
I have resorted to diving hard into lines that have a very clear mainline / aren’t as popular on a fundamental level. These are some lines that can be forced into from the most popular openings and allow the learner to be more “studied” on the niche traps since they branch from openings where the opponent must study multiple lines. I pray that this knowledge advantage is enough to carry me; at least it makes Blitz easily accessible from a long break.
King’s pawn opening – Kings Gambit
Whenever I play the Double King’s pawn game from white, my go-to is the King’s Gambit. Most e4 – e5 openings devolve into the classic development of the minor pieces in the center. Playing the King’s Gambit allows a very “narrow” branching opening where a slight mistake from the opponent will lead to an easy advantage.
Queen’s pawn opening – Englund Gambit
I hate Queen’s Gambit players with a passion. The opening for white is so fundamentally sound and it definitely is tricky to maneuver around if you haven’t played for a while. What better way to play against it than with the fundamentally unsound Englund Gambit. This opening is a pure gimmick, with a very braindead trap that works well against low level players. If you study the theory heavily though, your opponent will have to play in a minefield for a series of moves to actually earn that material advantage. This opening works until a undeservingly high level too, I’ve sniped matches from 1500s in a few moves.
King’s pawn opening – Sicilian Defense
Unfortunately this is one of the sound openings I usually have to understand intensely to round out my game. Once the Sicilian is played, you are playing a Sicilian game. Sounds obvious but from the white side they have to study the Double Kings Pawn, the French, the Caro-Kann, etc, when they want to open with the King’s pawn. Once you force a Sicilian against lower level players, you should have a massive theory advantage over your opponent. It’s also good to know because if you play the King’s pawn opening from the white side, you may find the Sicilian forced upon you as well.
Summary
White side: King’s Pawn opening
-> King’s Gambit
-> Sicilian game
Black side: King’s Pawn opening
-> Sicilian defense
Black side: Queen’s Pawn opening
-> Englund Gambit
I’d guess around 85% of games I encounter in Blitz can be forced into one of these three lines. Keeping a basic knowledge of these few branches allows me to come back into chess and relearn the lines of my games relatively quickly and they have the added benefit of being extremely fun to play as well.
I consider this a modern classic simply because of the fight choreography. This film has very little fluff in terms of story, but the action in this film surpasses anything in mainstream Hollywood. It’s one the most accessible foreign films of all time because the draw of this movie does not lie in the dialogue. Instead, a lot of the creativity is in liberties they took with fighting, and creating tension while the MC climbs the tower. By the end, the enemies get pretty ridiculous with some of the plot points that come up but Rama is just Spongebob climbing Karate Island man.
I watched the Final Cut, which is thought to be inferior to the Theatrical version of this film. Consensus is the shorter the cut is, the better this movie becomes with it’s original theatrical release being regarded as the best. This movie still felt competent to me, with very engaging scenes/characters. I definitely think it’s a product of it’s time and became such a staple because of it’s commentary on the then recent Vietnam war. From a modern perspective, it never gave me the impression it did anything to warrant it’s “classic” status. Maybe the original cut would change my mind. 8/10
