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Why would we want to do so? It's better to do it when our imagination is higher, the Sessho Seki are for pure raw power output.one thing to remember is that we're going to go searching for the remaining Sessho-seki stone pieces next year. Might want to update our Oversoul then.
Because questing for the pieces might involve combat events? and having an oversoul that gives us more options that just hitting it with the mirror could be useful, not to mention i still want us to utilize Unity so we can start getting skills from Tamamo.Why would we want to do so? It's better to do it when our imagination is higher, the Sessho Seki are for pure raw power output.
In my opinion it would be a waste of an action now, the sessho seki are either guarded by demons that we can easily subjugate or humans norwhere our strength.Because questing for the pieces might involve combat events? and having an oversoul that gives us more options that just hitting it with the mirror could be useful, not to mention i still want us to utilize Unity so we can start getting skills from Tamamo.
No Bonus? This is mine for Art btw:Roll 1d100 for Art, 1d100 for Bajiquan, 1d100 for Piguaquan, 1d12 for Furyoku and 1d100 for effectiveness, and 1d100 for Tamamo's lessons.
No Bonus? This is mine for Art btw:
https://rolz.org/dr?room=RollingInDeep
I'll try for art then, I'm not normally on to roll for stuff.
[dice]2986[/dice]
... And now I remember why I decided not to try the last time I rolled for something. I think I'll just keep passing rolls here from now on, my luck kind of sucks in this quest.
I don't know how to make a rolz room, so I'd have to just use the general one. I'm kind of leery to do that after Vale mentioned they can get unlucky.
Done it, the second furyoku roll went pretty bad, but it happens, it still is high.
Roll again what?If burning gives a plus modifier, you probably wants to roll it again. A bit of suggestion if you roll it again, how about not adding the modifier?
My instincts tells me adding modifiers sometime result in low number.
+5...to KannushiIntroduction: Kaiga, The Art of Japanese Painting
The Kaiga is one of the oldest and most highly refined of the Japanese visual arts, covering a wide variety of genres and styles that have been often influenced by nearby cultures during the History, like the chinese one.
Subjects often seen are usually of religious theme, calligraphy of ideographs, or paintings about nature, especially birds, flowers and landscapes. A famous style borrowed from the chinese culture is the ink-wash painting, often seen in many Japanese Paintings.
However Japanese slowly changed these to let them become more suited to their own style, in other words the depiction of scenes from everyday life and narrative scenes that are often crowded with figures and detail.
Often one can consider the Japanese art as something akin to spiritual and mystic concepts, showing us beautiful rappresentations of nature that align itself with the ideals of balance typical of oriental religions or meditation.
Japanese Painting and Art are too much wide to be described in few words, but you can graps its basic concept, even if a little: at the end of the day it conveys, like other forms of art, the way one sees the world in order to share the ephimeral way one feels about what is around him.
To improve you need passion, to grow you need patience.