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[GRIM RENAISSANCE] ARTICLE 04 - COMMON DEFINITIONS

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“I’m not here to push the agendas of ‘High Art’, ‘Low Art’, or even ‘Mid Art’. But what I am saying is that nobody here truly possesses the designation of ‘Non-Art’. It doesn’t matter what you get into – elitist crafts, practical trades, generalized skills, regimens, talents, or even just plain old chores – if you can channel your Grim Art through it, then you’re a Grim Artist. As to whether you’re an exemplary or a mediocre one, that is for you to decide.”



METHODS TO THE MADNESSES

- The Environmental Prerogative of the Forgewater Renaissance is concentrated enough to allow for some form of stability concerning Grim Arts. While the rules and regulations can be bent – or encounter outright exceptions – there are consistencies in how Grim Artists go about with Grim Artistry. Several universal ‘basics’ are as follows, in no particular order:

- Aesthetics, as were discussed in a previous Article, are the ‘core principles’ of an established Art form. They make up the bedrock and the birthplace for one’s Artistry. Said core principles of individual Grim Aesthetics can encompass broad or narrow fields of study, and they can even overlap with each other, but they will always have a distinguishing and distinguishable purpose, function, and goal.

- Techniques are the specific ways through which Grim Arts are carried out. Every brush stroke, every windshield repair, every punch and kick, every calculus equation solved: there are special procedures involved in the performance, refinement, and execution of a Grim Art.

- Artworks are the lasting results of Artistry, as 'actualized' by Prerogative in terms of effectiveness and duration. They can be – but are not limited to – objects, consequences, or situations; this much will be evident with the next three entries below.

- Devices are the conduits through which Grim Artists wield their Grim Art. They are often more than mere tools. In the Forgewater Renaissance, Devices can be Named or Unnamed, with the former being reserved for Devices that have formed a close bond with their Grim Artist. Such a bond usually grants extra capabilities and powers to what would otherwise have been ordinary equipment.

- Products are also something that comprises a Grim Artist’s gear, but unlike Devices (which are meant to help unleash Grim Arts) the implementation of Products is more akin to that of commodities. Grim Products can be consumed, sold, traded, or be used up as ingredients or building parts. Technically, Devices can be Products, but only while a bond between them and a Grim Artist hasn’t formed yet.

- Effects are the relatively intangible aftermaths of Artistry. They can have a direct or indirect impact on all facets of one’s being, but they don’t normally exist as physical objects, like Devices or Products. Effects are a broad term, and they can be beneficial, malignant, or passive in nature, but they are mostly a change or modification to something or someone.

- Orientations are the intended outcomes that one’s Artistry works towards. Binding-Oriented Techniques, for example, aim to entangle or ensnare a target, as opposed to harming it. Orientations can be generalized, but each general Orientation can also branch off into specializations.

- Bases are the primary sources and/or elements of Artistry instances. Aesthetics form the Basis of Artistry in terms of concept, but other things can be more directly and immediately ‘foundational’. Oil-Based Paints can be in the jurisdiction of the Painting and/or the Crafting Aesthetics, but its foremost Basis is the kind of oil bearing its pigments.

- Counters are Artistries geared to oppose, undermine, or undo a targeted Artistry; they are also referred to as Countermeasures, and usually have ‘anti-‘ as a prefix. There is a bit of an ‘arms race’ in the Forgewater Renaissance concerning this subject, especially since Counters are not exempt from having their own set of Counters.

- Collaborations are ‘compounded’ Artistries, albeit with Aesthetics forming one of, if not the only, main components. Collaborations can involve additional constituents, like Techniques and Devices. The label of ‘Combat-Painting Multi-Aesthetic Collaboration, plus Painting, plus Tree Sketch Aesthetic-Technique Collaboration’ entails two separate Collaborations working together. The first Collaboration is between the principles of two Aesthetics – Combat and Painting – and the second is between the principles of one Aesthetic as channeled through a Technique.

- Concurrences are also ‘compounded’ Artistries, with Techniques forming the main component. This time, the focus is less on ‘principles’ as it is on ‘methods’. The label of ‘Striking Overdrive and Haunting Strikes, plus Crafting, plus Unnamed Sword Device Technique-Aesthetic-Item Concurrence’ entails two Grim Techniques being boosted by the principles of Crafting, while at the same time being aided by a bladed weapon, with all three making up one ‘compounded’ Artistry.

- Conjunctions are the final type of ‘compounded’ Artistries, and for them ‘Items’ are the main component. Items denote anything not related to the principles of Grim Arts (Aesthetics) or their methods (Techniques), but they must still be ‘harnessed’ in some way. A ‘Dsiorpov Lineage Trait, plus Unnamed Pen Device, plus Writing Items-Aesthetic Conjunction, plus Computer Device Conjunction, plus Orbital Satellite, plus Construction Item-Aesthetic Conjunction’ is definitely complicated, but can be broken down into sections, since the words ‘Collaborations’, ‘Concurrences’, and ‘Conjunctions’ can all function markers that show which components are working as one unit, as well as where one unit ends and another begins. In this case, there is first a union between a Lineage Trait and a Pen Device, supported by the standalone Conjunction of Computer Device (which is still part of the ‘greater whole’), and then supported further via a satellite that’s boosted by the principles of the Construction Aesthetics.

- Classifications are the established consensus and/or documentation on Artistry. As mentioned in a previous Article, there are groups dedicated to the documentation and organization of knowledge on Grim Artistry, although classifications made by individuals aren’t necessarily invalid.

- Styles are the ‘associations’ that certain Artistries can be linked to, as well as the ‘genres’ said Artistries can be classified under. Styles are recognized only if something is influencing Artistry enough to bring forth a distinct change, and not the other way around.

- Variants are exactly as they sound. There usually isn’t a single way of going about with Artistry, and even minute alterations to Techniques and Products can result in different outcomes. Note that Variants have to do with the Artistry itself, and not its associations. There can be multiple Variants that fit under a single umbrella of Style.

- Repertoires are the totalities of one’s Grim Artistry. Aesthetics, Techniques, Devices, Products, Variants: all of them comprise a Grim Artist’s Repertoire, which may or may not be subject to improvements and reworks.
 
- Canons are the Imaginations of a Grim Artists’ (as found in their personal Creative Domains) that their Artistry is trying to 'actualize', to the best that their Prerogative will allow. Aesthetics and Techniques are to Artworks what ‘roadways’ and ‘vehicles’ are to ‘destinations’, and one’s Imagination is the ‘fuel’ that makes initiating such a journey even possible.

- Arrays are when multiple Artists and/or Artistries are pooled together. Collaboration, Concurrences, and Conjunctions are assembled before a Grim Art is performed. Arrays, on the other hand, are assembled as or after Artists and their Repertoires have been brought forth. Furthermore, the ‘choreography’ that coordinates all Artists and Artistries involved is of utmost priority. Arrays have three tiers. Grim Arrays are the baseline, and most Grim Artists can manage them with ample preparation. Grand Arrays are a whole order higher in terms of scale, intensity, and complexity; multiple Grim Artists are required for Grand Arrays, although there are cases where lone Artists have pulled them off. Great Arrays surpass Grand Arrays in all facets, and occasions where a small army of Artists was not needed to form one are unheard of.

- There are fundamental terms not mentioned here that will be elaborated on elsewhere, like Art Costs. For now, three specific ones that are more prevalent in the Forgewater Renaissance will follow:

- Art Blocks are occasions where Grim Artists are severed from their Canon. The causes are plenteous, ranging from stress to one’s Grim Art trying to preserve the well-being of its Artist, but the symptoms are the same for everyone: it become hard to use one’s Imagination. That being said, Art Blocks do not cut off Grim Artists from their Prerogative, and some Artistries demand less Imagination than others.

- Artistic Integrities are special stances, missions, and/or vows that Grim Artists make with their Grim Art, and vice versa. Integrities might sport loose guidelines, or they can be utterly binding. Nevertheless, they are mostly reflective of their Grim Artist’s gestalt and personality, and can even impact the status of Grim Artists. For example, for those with a strict Generalist’s Integrity to be ‘true to themselves’ as Artists, they must never attempt Specialized Repertories. Failure to do so is a ‘betrayal’ of their Artistic Integrity, which might even strain their relationship with their Grim Arts.

- Obra Maestras are the ‘Ultimate Artistries’ of Grim Artists. Many Obra Maestras come with a non-negotiable Magnum Opus Integrity, which mean they can only be used once, at least when it comes to specifics. A Grim Artist who has used up an Obra Maestra with a Magnum Opus Artistic Integrity must either come up with a brand new Obra Maestra or a superior Variant of a previous Obra Maestra.



PICTURE NOTES

- There are some situations wherein one’s best doesn’t quite cut it. A certain Joshua Dsiorpov learned during his youth that when giving it his all wasn’t enough, it really didn’t hurt to radio in some help. And when exhaustion has become an issue, one needs an efficient method with which to do so.

- This is where his Portal Contracts come in handy. These Grim Products (of which Josh’s specific brand were made by a collusion of his Lineage and the Tenmache Guild) have the ability to Summon allied Grim Artists, regardless of distance, and through most Anti-Portal Countermeasures. At first, only inferior simulacrums will be called forth. Then, depending on the availability of the Artists Josh intends to Summon, the simulacrums can be ‘piloted’ by their source material, and the former will take on the full nature of the latter. This way, if targeted allies are unavailable to help, the Contract user can still make do with lesser aid, and if someone were to tamper with the Portal Contracts, Summoned Artists will not be stranded with their Summoner. The Dsiorpov-Tenmache Portal Contracts themselves were fashioned to resemble playing cards that one might use to play Poker, and one of the major advantages they hold over most Portal Contracts was that any required Art Costs could be paid in advance, meaning they could be employed easily and nearly instantly.

- There has only been one incident where Josh had to use up almost all his Portal Contract Products. That was when he challenged a Grim Artist (whose name will remain confidential for now) that he thought for sure was on the same rank as he was. The two of them had been hunting for ingredients at the Sxalotl Cavern ponds and chanced upon a rare anchovy neither would yield to the other.

- A duel to settle their disagreements was decided upon. At first, the fight was even, but after insults and cheap shots were lobbed by both sides, tempers quickly soured. The scuffle soon went from something casual to something very, very personal. And once his opponent got serious, the skill and Prerogative gap between the two became all too apparent. Josh offered to concede defeat, but by now his foe was playing for keeps – Grim Artists have disappeared without a trace within the depths of the Sxalotl Caverns before. A murder would be been all too easy to cover up.

- Fortunately for the budding Grim Artist, despite being a loner, he wasn’t completely friendless:

- Bastet Weston, the ‘Red Mirror’. Her Portal Contract appears as the Ace of Hearts. A Sharpshooter from one of the Forgewater Renaissance’s Lineages renowned for their firearms. Though Josh himself has never fired a gun in his life, one of his ‘inner aspects’ had a knack for being rather trigger happy, and Bastet was hired to tutor ‘him’. Although the ‘aspect’ of Josh known as Azrael made for an entertaining pupil, Bastet found Josh a more worthwhile comrade. Though her selection of weapons seems limited to small derringers, she is capable of outputting an absurd amount of firepower. Furthermore, Bastet can govern her ammunition mid-flight. She can teleport her bullets, reduce the rates at which they lose momentum, and if both are performed at the same time Bastet can strike the same target multiple times from multiple angles hundreds of times before she must reload.

- Marc Sulweiss, the ‘Sir Bruiser’. His Portal Contract appears as the Jack of Spades. Marc and Josh used to be good friends in High School, which is where he and Josh exchanged Portal Contracts. Though the two don’t get together much nowadays, having gone off on different paths of life, they remained on good terms. Their lasting cordiality is what ensured their Portal Contracts didn’t expire, and Josh was only too glad for that, as Marc combined the role of Chef, Blacksmith and Fighter into something quite difficult to face off against. Whether his role is front-line juggernaut or rearguard support, Marc has constantly proven himself to be indispensable, sometimes and accidentally, even to the opposing team. Of course, if that ever happens, Marc can employ a few potent Gaming Techniques to even the odds.

- Xuraios Vakurion, the ‘Phantomantis’. It’s Portal Contract appears as the Joker Card. Josh isn't really on good terms with this enigmatic Grim Artist, whose real name, gender, and personality are hidden by the unusual ‘mask’ on its head. In fact, Xuraios has made an attempt on Josh’s life on more than one occasion, albeit not of Xuraois’ own volition. Some say the Tramuetta Lineage kidnapped and made a thrall of Xuraios via their parasitic masks, and the Tramuetta are quick to deny all allegations of this. The Vakurion themselves are not so sure how one of their own was subjugated in such a manner; up to date, only the Satvasahi and the Dsiorpov have ever successfully brought a Vakurion to heel. Nobody really knows who Xuraios answers to, or which specific family within the Vakurion Lineage it originates from, but sometimes this terrifying Grim Artist can be ‘loaned’ out to others via Commission Contracts, one of which Josh secured from the Tenmache after a successful mission. And though Josh’s control over Xuraios is paltry compared to its true overseer, he can still bring the Phantomantis’ devastating biomass-manipulation and body-manipulation abilities to bear.

- Amelia de Auroche, the ‘Velvet Kraken’. Her Portal Contract appears as the Queen of Clubs. A Seamstress by profession, but an excellent duelist at heart, Amelia is not the typical Fashion Artist. She knows how to make clothes that augment her allies, but she also knows how to send foes scurrying like roaches before a flashlight. And even without people to wear her Grim Products, her creations are quite happy to fight on her behalf; many believe that without a body to bog them down, Amelia's clothes can defend their mistress with greater ease. Still, she prefers to fight on a team. Josh, for one, was only too happy to exchange Portal Contracts with Amelia once they got to know each other after a few business ventures, during which the two would collaborate on infusing attire with text.

- Kay Zaphkiel-Smith, the ‘Morbid Earl’. His Portal Contract appears as the King of Diamonds. Like Marc, Kay used to be a close friend of Josh, but where Marc no longer stays in touch with Josh, Kay still drops by the Dsiorpov estate every so often. Both Josh and Kay, during their teens, were quite surprised that they even took a liking to each other, since they’re almost polar opposites. While Josh prefers to fight at a distance, Kay is a close-quarters elite who considers subterfuge dishonorable. While Josh’s personality is plagued by division, chaos and strife, there is an order and harmony between Kay's physical, emotional, and spiritual selves. And while Josh is talented but lazy, Kay is constantly honing himself on a never-ending quest for self-perfection.

- Any one of Josh’s Summoned Artists could have fended off his would-be murderer in the Sxalotl Caverns, but he didn’t want to risk inconveniencing them with a long scuffle. Josh himself was unable to see how the rest of the battle went, since he passed out almost right away from his injuries. He would wake up in his own bedroom, bandaged and sore, two days later with an extremely valuable anchovy happily swimming in a bowl at his bedside. Not three inches from the anchovy, which was oblivious to the notion that it would soon be dinner, were five new Portal Contracts. Of course, a couple of them would require favors before they would be activated for Josh’s usage, but those were prices that he was more than willing to pay.



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Comments38
Dumbass-Red's avatar
Good job! the talent is! try and be sure to become a somebody!
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