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Giuseppe Fellini
Topic Started: May 21 2016, 08:26 PM (75 Views)
Good Ole Khepri

Character Template

Name: Giuseppe Fellini
Actual Age: 534
Visual Age: Late twenties
Nickname/Alias:
Gender: Male
Race: Shinigami
Allegiance: Free agent
Influence: 0

Appearance: Fellini is on the smaller side; he’s shorter than the average man his age and rather scrawny. His skin is a light brown, a tone usually described as ‘olive’. In the manner of a true renaissance artist, he has long, curly chestnut hair, which he manages to take care of even while a spectre. Across his upper lip is a pencil moustache which is trimmed into points that themselves end up looking like pencil tips. His eyes are dark brown, and under a pair of thin eyebrows. His nose isn’t particularly large, although noticeably hooked and crooked.

In his ghostly form, he dresses a bit like one would expect someone from the 16th century to dress, more or less. Often confused for a pirate; he travels around in a dark puffy shirt, which is sometimes complemented by an appropriate vest. The shirt itself is almost like a skirt, covering up high thighs a bit, and making his antique leggings a bit more flattering. Usually he wears a pair of boots that match the color of whatever heavy buckle belt he’s wearing. And lastly, he wears a large feathered beret.

His gigai is modernly dressed, or at least somewhat. Fellini seems to be taking his modern sense of style from a younger Bob Dylan and sadly enough, he still finds time to wear a beret.

Personality: Fellini is a rather affable soul. There are points where he can perhaps be a bit too intrusive; sometimes he seemingly forgets the existence of the concept of boundaries, especially when it comes to strangers. He can perhaps come off as a bit frivolous; even in death he seems have a focus towards petty living things, rather than the balance of the powers that be.

As friendly as he can be, he is a cynic.While he has such a warm front, he actually has difficulty forming bonds with people. Although he tries not to let his overly-cautious nature get in the way. Given Fellini’s age, he is rather patient when it comes to gauging one’s trustworthiness, which only goes for further impact his day-to-day interactions. Even those he would call friends or allies are scrutinized, in fact, he often holds his friends to higher standards than a new acquaintance. And it’s because he tries to act to warmly that when he feels as if he’s been betrayed, he ends up feeling doubly betrayed.

At his core, Fellini is still an artist; although he makes it a point to usher spirits into a less hollow afterlife, he still considers it his posthumous life’s work to create a great work. Having existed for a brunt of art history, he was taken so much in. Although he was one of the artists of the high Renaissance, he finds himself being more fond of the Baroque and Neo-Classical movements, appreciating the fine details and dynamism of the works. However, as far as his creation goes he has a fascination with filmmaking more so than painting these days.

History: With his father a painter for the likes of someone wealthy enough to have a private painter; the young Fellini found himself being taught the way of the brush ever since he was able to even hold a brush. Perhaps he had a noticeable talent, or more likely he was hit by an underserved bit of luck when he was sent to Urbino to practice under the masters. Taking an interest in deeply Christian and Greco-Roman imagery he had the makings of a minor footnote of the High Renaissance, but his luck ran out when he went to Urbino in the first place.

In his early teens his mentor (one Vittorio Pasolini) brought him back to Florence where he would further his studies and find the overall meaning of the human experience, in the worst of ways. While his mentor was off painting the really important people, Fellini was doing the petty portraits of the lesser family members of those vying for control over Florentine’s affairs and finances. It was well and good; Fellini had access to the rolling, nostalgic Tuscan countryside that would inspire him to create his own great works of art.

Being a teenager he was bound to end up absolutely head over heels for the French bride of a Milanese politician. The young man’s heart was always a flutter around young Juliette Cocteau, whom he would write poetry about, extrapolating on her state as a young woman married off to someone so influential and powerful, although not in so many words. Teenage infatuation never really went anywhere worth noting, unless there were some more serious undercurrents in the background. Of course, after he painted Juliette and let his passion ron amok into what would become quite the portrait, rumors started to spread.

With rumors came consequences; consequences that may’ve seemed disproportionate. For the sake of the sanctity of his protégé’s life, Pasolini shipped the poor dumb teen off to Rome to hide ‘amongst friends’. But with his years Rome, Fellini had very few actual friends, but he was lucky enough to have one of those friends be a cardinal. Although, Jean Carax was hardly anybody worth having as a friend; he had his eyes set on the title of ‘your eminence’ and was more than willing to go beyond the call of duty in order to get said title.

Fellini’s interactions with Carax were very brief more often than not, and in the end Fellini was sent to act the spy. He was recommended, under a fake name, to do portraits for the other cardinals. In the meantime he took it upon himself to simply paint; one of his favorites was a rather stark painting of the assassination of Julius Caesar. The small hole to which his existence was mostly regulated to was soon filled with canvases domionoed against the walls. Tragically, several of the men he had made portraits for had turned up dead--murdered in some pretty gruesome ways.

It then struck Fellini that maybe Carax had something to do with this. Frustrated with his unintentional place in several murders he realized he was being haunted. The ghosts of the men he had a hand in killing had realized his natural inclination, his muse, and used it against him. In order to work up the courage to approach Carax he got to doing what he did best, painting, and he painted the ghosts of the dead priests and cardinals the way they wanted to be painted in all of their anger and rage. As the painting progressed the last of the men would become increasingly less… human, to the last which was some sort of masked monstrosity.

Carax had kept him safe for the time he was in Rome, but to such a grim end. That day when the two met in the Vatican, Carax made a point to scold Fellini for his naïveté; such brutal chicanery was the way of the time, of one wanted to succeed they had to be willing to do all that was necessary to fulfil their ambitions. Fellini left Carax without a word, choosing to go to confession to get this newfound weight off of his chest.

He had chosen to go his own way, and in the coming weeks prepared to leave Rome and perhaps all of Italy. Pasolini had gotten word that Fellini on route to making his exit, and the two had one last meeting. They talked in that way that the master and student often do, and Pasolini critiqued the works of Fellini. As Fellini turned his back on Pasolini he felt a grip around his neck; the life was being garrotted out of him. He struggled, but… he ended up dying.

Very few paintings of Fellini remain intact. Several of his portraits during his Florentine period are left unattributed, and mostly considered unremarkable. The last of his works, La Cabala is a striking and bizarre scene depicting a dramatic meeting of sullen men and “the demon of Rome(Identified as a hollow by those aware of their existence)”. La Cabala is often attributed to Vittorio Pasolini, although some conspiracy theorists have gone through great lengths to say that it was the work of a very guilty Jean Carax.

Death was an interesting experience. Fellini had made peace, he had gone to confession, he was ready to ascend to heaven. There was nothing, nothing but more of those monsters he had seen when he had painted La Cabala. He was eventually approached by another, a shinigami, who helped him on the way to ascending to the Crossroads of all places. So he did, and in the process became a shinigami in his own right. After spending half a millennium galavanting around slaying hollows and helping less malevolent spirits he decided it was time to get serious.

Equipment: His zanpakutō.

Items:

  • Gigai
  • HD Camcorder for his adventures in reality.
  • An HD projector for when he wants to inflict his ‘adventures’ in reality onto others.
  • A flash drive with several of his films, including but not limited to; Una pazza giornata di vacanza starring Julia Adnoss, Se mi lasci ti cancello starring Julia Adnoss & William Covenant, and Una poltrona per due starring William Covenant & Bo Godfry


Combat: For the most part, Fellini’s fighting style can best described as deliberate. The primary form of his zanpakutō is a dagger which, because of its incredibly short range, always puts him in a compromised position to strike. As a result, he’s made it a point to keep his zanpakutō sheathed while in combat, unless he has first put the opponent into a compromising position themselves. He favors striking with precision and accuracy over speed. This of course, follows when his zanpakutō is released, seeing as the nature of a guillotine--particularly a guillotine built into his shield--leaves him exposed, thus his strikes must not be made lightly.

Fellini’s love of poetry has lent well to his him expanding his horizons in the afterlife as a practitioner of Kidō. The artist is well versed in Kidō, specifically finding himself a niche in the bakudō school. Because of the very focused and deliberate nature of his fighting style, his mastery of binding is used both offensively and defensively. Proper usage of binding can give him plenty of opportunity to force an opponent into a vulnerable position. With his use of bindings, he finds that the best way to avoid an attack to prevent the attack from ever being made in the first place--although that cannot always be accomplished by killing.

Second to his bindings are his barriers. Realizing that his dagger doesn’t really offer the most potential of blocking, and also realizing that he can’t have his zanpakutō in a constantly released state, his main mode of defense is based around barriers. He has a distaste for the more overtly offensive ways of kidō (this tends to go into his philosophy concerning precision in battle), as such, he tends to have different applications for barriers rather than simply blocking all the time. Although,the more arcane and offensive uses for his barriers are less likely to come up. His main mode of defense are these barriers, softening damage as it comes.

Zanpakutō
Name: Bruto

Manifestation: Bruto, as one might expect, is of a very Roman design. He appears to be a man, of late middle age, with short, grey hair in that stereotypical Roman style. There is a ghoulish, subtle grey tint to the man’s olive skin, which is further made all the creepier by the dark bags under his eyes. His toga is pristine, save for a singular splotch of blood on the purple embellishments where it appears a weapon had been cleaned. Bruto is always sitting alone, brooding and musing about. He tends to acknowledge Fellini in his warm bass, calling him all manners of “friend”.

Fellini and Bruto have an odd relationship. The conflict that’s often had between zanpakutō does not appear to exist at the surface level. The two appear to very agreeable and trusting of one another--however that is not the actual case. Ever since Fellini began to uncover more and more about Bruto he began to trust his own weapon less and less, and the more Bruto has seen of Fellini the less he’s trusted him. For all their smiles, and chats, Fellini and Bruto are always second guessing one another.

This manisifation of Bruto is alone in what appears to be long abandoned, oddly stylized, and now roofless ruins of the Roman senate. If one pays closer attention, the many scattered columns become more ‘toothy’ the higher one’s eyes go, until they end into what are quite obviously the tips of fangs. In fact, the columns themselves are arranged less in the manner they are in the actual senate (largely because there are none in the actual ruins of the senate) and more like they were in the mouth of a massive monstrosity. It always seems to be winter within Bruto’s realm--a brutal winter not seen in Italy since the ice age.

Incantation: “Giù la testa…”

Sealed Form: Fittingly enough, Bruto appears to be dagger in its unreleased form. The dagger itself is rather plain--having no real embellishments. The crossguard, at least, has a nice silvery quality to it, although its design is rather minimalistic just giving the dagger a very simple Roman cross look. The blade is double edged, and a bit around as it comes off the point.

Released Form: When released, Bruto gains a considerably more brutish (aren’t I clever?) appearance, going from the likes of a dagger to “shield” with an immediately noticeable size increase. Bruto’s new appearance looks to be made out of long worn marble, and moreover it holds the appearance of an intricately carved sculpture. Of course, the carved aspect of Bruto is a face, a rather angelic face, with the outlines of wings embellishing the sides.

The shield's overall shape can best be described as kite-esque, although it’s proportions are somewhat narrow, being not much wider than Fellini at its widest. The effectiveness of the shield can easily be called into question by the fact that the agape mouth leaves a rather large space for attackers. This begins to tie into the eyes of the face, which appear to be more metallic than the quasi-marble shield--the metal appearing a bit light gold in its base state. Hidden within the shield itself is what--for all intents and purposes--appears to be a guillotine that just swings down through the mouth.

When the blade swings, the shield changes. The angelic visage is replaced by a rather misshapen, monstrous face, with all sorts of gnarly features and horns jutting out of its forehead; while one face holds center stage, the right and left sides of the shield present profiles that suggest that the figure would’ve had three faces. Once the blade has dropped once, it keeps this newfound form, its eyes becoming red. The face appears to cry, regardless of what form its in.

Abilities: At face value (ah-ha!) Bruto gives an offensive increase with the whole guillotine aspect of its form. Of course, a zanpakutō would be next to nothing without the advent of a mystical quality and Bruto is no exception. Although it is a shield its abilities don’t offer much in the way of defense--Bruto, as its namesake would imply, is a very offensive weapon. Although, it is a bit deceptive in how it goes about this. As noted before, the shield weeps and it appears to weep more depending on the damage the opponent has taken. The more injured or tired or weakened the opponent, the more frantic the weeping becomes; a simple cut begets a few tears, while an enemy who has been struck over and over again will hear sobbing from Bruto. Bruto's tears leak into the blade of the shield’s guillotine--increasing the intensity of the blade, turning it a more vibrant red and increasing its sharpness.

Stat Area
Edited by Good Ole Khepri, May 22 2016, 08:29 PM.
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