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Description
Titles and Alternate Names:
- 'Takeninja'.
- Usually just called Lawrence, but he is also often referred to by his Title.

Age:
- Never speaks his age, despite appearing to be in his mid-twenties. Often alludes to ancient times gone by as though he had experienced them first hand. He carries himself about as if he were as old as time itself, or at the very least has experienced a few hundred birthdays.
- Considering his Art Costs, this secrecy might be (in all likelihood) just a behavioral quirk.

Nationality:
- Japanese and Native American.

Appearance:
- Tall, with curly black hair. Lawrence has a pencil-thin mustache and goatee, and possesses a slightly husky, stocky build. He is not overly tanned, but his skin shines with a subtle orange hue due to ethnicity. His left arm is entirely mechanical from the forearm to the hand.
- Typical attire includes a black button-up shirt, matching dress pants, and a brown belt. There's a holster on his right hip and a leather sword frog on his left, as well as bandoliers of cartridges across his torso. Unusually wide sleeves and pant-legs to allow for high range of motion and add a billowiness to his appearance. Along with his preferred footwear (Japanese Tabi) Lawrence’s getup is an altogether peculiar image, one capped off by a time piece of his own design that’s clipped to his hip pockets.
- The green monocle Lawrence is known for sporting seems to be switchable between both eyes.

Background:
- Everyone on Vidan’s team seems to have heard of a few of Lawrence's misadventures. His colleagues in particular aren't overly shocked whenever he pops up unexpectedly in some place new in what seems to be a scholarly quest. His reputation appears to precede him everywhere he ventures, and the most familiar greeting that's thrown his way is 'Oh, you're that Lawrence'.
- Not even Vidan is overly sure where Lawrence comes from. The denizens of the Renaissance Realm that Lawrence originates from, rumored to be quite far from the Forgewater Grim Renaissance, seem to view him much like a kindly old janitor who's always working quietly in the background.

Personality:
- Super friendly and easy-going, Lawrence tends to address everyone as a friend, but rarely assumes people outside of his inner circle know him as more than a novelty act. Lawrence takes to heart the idea that 'everything can be a sandwich', and as such he is always looks for new ways to mix and mess with functionalities in search of a more versatile result, like his signature six-barrel Glue-Gun.
- Perhaps the most curious aspect of Lawrence is what occurs whenever inspiration strikes him with an idea for an Artwork, be it of Crafting or of another Grim Aesthetic. Lawrence will fall into a trance-like state he calls the ‘Fever’, and while it’s in effect he’ll obsessively work on whatever project he was just inspired to do. Lawrence’s ‘Fevers’ can vary in length, but their details are consistent:
- First, is that their onset is unstoppable. Once Lawrence feels one coming on, there’s nothing he can do to stave it off; Fevers can be interrupted, but such intermissions are short.
- Second, is that they drive him to a near fanatical tirelessness to complete his so-called Fever Projects, and those mostly revolve around altering objects with the goal of improving them in any way he can, which is why most of his Fevers are Crafting Fevers. Lawrence might start out with a thimble and end up with a complete set of armor.
- Third, is that the notion of practicality and rationality don’t become as important to Lawrence during his Fevers. It’s almost as if he tinkers for the sake of tinkering.
- Lastly, the recollection of events is a futile attempt at best. Lawrence is never fully aware of what he has done during his Fevers. By extension, any gizmo or contraption that a Crafting Fever Project has produced is mostly a puzzle to Lawrence; he often has no idea what it does, what its true potential is, and what special capabilities it might possess. That is if Lawrence can even remember whether what he made was the result of a Fever Project or not. In the past, he has mistaken more than one Crafting Fever Product as something regular instead.
- Outside of the Fever, Lawrence appears to have little to no focus, and he seems to flutter absentmindedly between thoughts, ideas, and actions. However, while his doings appear to be muddled and fragmented to the average observer, they’re all intertwined deep within the recesses of his subconscious. In other words, there’s still method to his madness.

Grim Artist Class:
- Dilettante; much more powerful than an Apprentice. Can exhibit more advanced Grim Techniques and has refined the basics ones to the point where they can be used for more complex and potent moves. Is outclassed by a Savant Class Artist and definitely no match for a Virtuoso Class Artist.
- Lawrence is a High-Rank Dilettante, meaning that he is ready to graduate into the Savant Class.

Grim Art Type:
- Soul Art. Lawrence’s mental/emotional existence fuels his Grim Art’s own.

Grim Aesthetics:
- Lawrence is a Balanced-Repertoire, one that’s adept in the Combat and Crafting Aesthetics, and with the former he gravitates towards both Bladework and unorthodox Martial Arts. His Crafting covers a few fields of study, though machinery seems to be a central theme.
- His repertoire is starting to spread out, not to the point of being a Semi-Generalist, but enough to disqualify him from being a Semi-Specialist. Lawrence’s has involvement with Landscaping, the Architecture Subset Discipline of Construction, and Film, and thus is in the middle of the Generalist and Specialist archetypes. He even has training with the classical forms of Gaming, that is, Paper Games, Board Games, and so on, but he doesn't really consider those as making up their own Aesthetic.
- Lawrence practically a Savant with the Combat and Crafting. His other Aesthetics are probably High-Rank Apprentice or Dilettante in terms of advancement.
- ‘I may not be the best at anything but I'm going to make to 10 in everything’, is his attitude towards the other Aesthetics that aren’t as well-developed as his Crafting and Combat.

Grim Devices:
- The Guardian's River: Lawrence’s weapons of choice comes as a pair. One half of this pair is a blade that started its life as a mundane Shobu Zukuri. Inspired by the Shinken Stance of Kenjutsu (which favored defensive options over offense), the intention behind the project was to create a blade that could discourage a melee clash by keeping the full length of the weapon between the user and an opponent, possibly preventing a savage escalation into bloodshed. A Shobu Zukuri blade design was decided upon, but as Lawrence became more invested into the project his Crafting Fever set in. The blade was lightened, and the handle shortened, turning it into a one-handed weapon. This allowed the user to increase the reach of their stance. Finally, the tsuba was altered to create a more comprehensive guard. The result was a sword that followed the Sasayaku Lineage’s ideal of soft redirection, an ideal that Lawrence abides by. The design of the Guardian’s River allowed for attack deflections with the back half of the blade without overly altering the orientation of the front of the blade. Lawrence’s Crafting Fever did not subside, however, for a counterpart idea had arisen to the Guardian’s River.
- Swift Mercy: Lawrence might be a lover of pacifism, but that doesn’t mean he won’t fight when he must. He is familiar with the notion of deterrence: 'the stroke of one sword may stop 1000 from being drawn', as he once heard. Again, a Shobu Zukuri shape was decided upon. This time, the blade was shortened for a faster draw, the handle lengthened to compensate the loss of power. The dark sibling of the Guardian's River was thus born. Its name was Swift Mercy: the killer that saved lives.
- Kessho Oji: Its name in English is Crystal Prince, and it is a gift of the Sasayaku Lineage to all those who become a student of theirs. This softly-glowing, semi-transparent, ethereal-looking curved sword is the result of a potent Substance-Matrimony Technique, which fuses two or more materials into a brand new one. In this case, it's a Substance-Matrimony of Glass and Platinum, which is then molded, folded, and hammered into a sword of great worth and beauty. The Kessho Oji also boasts the ability to dispel even the most violent Energy and/or Light-Based Techniques via refraction.
- Unnamed Monocle. Allows Lawrence to channel a bunch of Film Aesthetic Techniques.
- Unnamed Glue Gun.
- Unnamed Mechanical Arm. It’s unknown whether Lawrence’s metallic limb is an actual prosthetic or what is known as an Avatar Prosthetic, which is printed over the existence of a body part; the destruction of an Avatar Prosthetic results in the original body part reappearing as if nothing has happened. Lawrence tends to avoid giving a definite answer. Regardless, his arm dispenses a high-tensile wire from the wrist, and this wire is often used in his Art projects.

As an Artist:
- Lawrence barely thinks of himself an ‘artsy’ person in a generic sense. In his eyes, he’s more like a bumbling scientist seeking enlightenment through more ‘Non-Artistic’ means, despite Art in the Grim Renaissance thoroughly permeating what most other societies would have considered ‘Non-Art’ – even Science in the Grim Renaissance is a joint Subset Discipline of the Inspiration and Prerogative Aesthetics.
- Still, Lawrence seeks knowledge and refinement in a quest to achieve a fusion of beauty and functionality through the perfection of Technique and Form. Perfection of his trades alone isn’t enough for him, however. Lawrence wishes to explore simpler ways to capture and/or convey the variety of the world around him in his Crafted Products, driven by what he believes is his twisted view of ‘balance’.
- He loves passing on both his notes and his projects onto others, as the act of sharing in itself brings him inner peace and a great sense of fulfillment.
- The combination of his derailment-prone line of thought, his thirst for learning, and the fact that he is an incurable hoarder of anything that may be usable for parts means Lawrence is constantly adding to his pile of back-logged projects. He's always up to his eyeballs in unfinished projects, or drowning in unsorted piles of finished ones, in addition to other clutter.
- The only thing beyond Lawrence’s desire to disassemble, replicate, assimilate, and improve is the Way of the Sword itself, which he treats with an almost mystic reverence. It comes as no surprise that his most consistent companions are his weapons. Lawrence aims to study and then bring together as many Bladework Styles as he can, experimenting with the lot in the hopes of producing one Style with which he will finally achieve one of the few things he truly craves and idolizes: the perfect cut.

As a Grim Artist:
- Lawrence's fascination with reverse engineering whatever catches his curiosity is the heartbeat of all his Crafting Techniques, but he also applies it to his other great love, which is the Combat Aesthetics. Lawrence has carefully inspected many different Martial Art Styles, broken them down, and tried to replicate what he could.
- Much like what happens during his Crafting Fevers, however, what started as a simple observation of Fencing and Tai-Chi has mutated into a fighting style that can only be described as a complete wild-card. Lawrence’s nameless Martial Art definitely has principles of Jū and Taoism comprising its foundations, of which the two hold the ‘formlessness’ and ‘adaptability’ of water in high regard. Consequently, just like water, Lawrence’s fighting style might have him devoted to a tranquil defense in one moment, and crashing into an opponent like a tidal wave in the next.
- When called to the attack, Lawrence tends to be very hands-on, relying primarily on his talent for close-quarters melees and his ability to handle his swords, trusting that between those he can continue to wear down an enemy with deflections and counterattacks until he's in the perfect position to deliver a precise finishing stroke.
- Attack and defense aren’t Lawrence’s only strong points. He becomes a proficient strategist once enough of his adrenaline is coursing through him, in stark contrast to his normally addled demeanor. His tactics often involve covertly releasing his arm’s metal wires in an attempt to ensnare his foes. His Glue Gun works wonders encumbering enemies too, and Lawrence will open fire on joints, eyes, barrel tips, or wherever he deems a well-placed shot can do the most good. As his adrenaline continues to focus his mind, Lawrence will litter the battlefield with concealed Crafted Products. Traps, decoys, reconnaissance contraptions, navigational gear: he rarely fabricates any complicated machinery, but they’re always well-made enough to be a threat. He can even play the part of an improvised field medic, sealing up wounds or delaying Negative Effects with his glues. And, if the situation requires it, he has no qualms with retreating to a safe distance so that he can prepare for his next assault.

Art Costs:
- Lawrence's Grim Art eats away at his conscious awareness. Per project completed, per Technique acquired, or per Aesthetic or Subset Discipline learned, Lawrence permanently loses a tiny bit of his ability to communicate with and/or articulate to others. His Art Costs also eats away at his capacity to perceive social undercurrents.
- Fortunately, individual instances of his Art Costs are very minor. Whenever they’re exacted, Lawrence experiences no crippling side effects whatsoever (certainly nothing that hinders his skill as a Grim Artist) which means he could theoretically perform his Techniques with indefinite, reckless abandon. But that’s actually what makes his Art Costs deceptively problematic.
- Due to the sheer number of projects he’s undertaking (and the Art styles that he’s dabbling in) Lawrence’s mind is still falling apart at an alarming rate. His Crafting Fevers don’t help his situation either, and they have all but doomed Lawrence to consume himself, unable to break his addiction to learn and manufacture.
- At present, the totality of his Art Costs manifests itself as simple absentmindedness. However, it is speculated that (if he doesn’t take precautions to heal his Art Costs) one day Lawrence will lose his sanity altogether. Then, he will mindlessly churn out wondrous Crafts without word or reason, imitate fighting forms on instinct, and possibly even turn feral. It is a fate that will condemn him to existing as a cross between an Artist and a natural disaster, nevermore to think, speak or love.

Favored Moves:
- Lawrence is an experienced Grim Swordsman and Crafter, and his repertoire is supplemented by a huge selection of Utility-based Techniques. While he possesses no Summoned Characters, he more than makes up for it with a clever and cunning skill set. Those without Prerogative over or knowledge of Film and Crafting Techniques tend to have a hard time against him.

Kakashi no Tomegane, ‘Spider’s Variant’
- [Combat-Prerogative-Crafting Multi-Aesthetic Collaboration, plus various Sword Devices and Crafting Glue Multi-Item Conjunction]
- Also known as ‘Scarecrow’s Clasp’ in English. Lawrence enshrouds his swords in an Anti-Prerogative Aura, along with a healthy coating of glue. He then proceeds to drive his swords through his opponent at various angles. The Anti-Prerogative Aura keeps the swords from doing any physical harm – they are now attuned to only affecting Prerogative itself – but since Lawrence’s target now has the equivalent of steel rods permeating it, movement is heavily restricted. The Glue prevents the swords from being pulled out, and they will remain in their victim until its Prerogative has been completely drained.
- Doubles as a Binding and Prerogative-Depleting Technique, and one of the reasons why the Sasayaku are renowned for beating foes without having to destroy them.
- Normally classified as a Very Uncommon Technique, the regular Variant doesn’t use glue, which is why Lawrence’s ‘Spider’s Variant’ is classified as Rare. Of course, being a Sasayaku Technique, it was created with pacifism in mind. There are many more malevolent Variants that use Anti-Prerogative Auras which don't hamper a weapon’s ability to cause physical damage, with some intentionally prolonging the suffering of a victim.
- Normally performed with Lawrence’s two signature weapons, but the more the merrier.
- Extremely effective against Artists with an Innate Prerogative Form. Some Grim Renaissances, like the Forgewater Renaissance, have denizen Grim Artists whose corporeal existences are directly connected to their Prerogative. That is, they are ‘a Figment of their own Imagination’. To wit, ‘they think, therefore they are’. They don’t sustain wounds or ailments like other humans would, for such things are only as factual to them as their Prerogative will permit. Consequently, depleting them of their Prerogative is to cause their existence to cease without needing to employ any other methods of harm.

Gumo no Gyakuten
- [Combat-Crafting, plus Adjust Opacity, plus Wire Product Aesthetics-Technique-Item Collaboration]
- Also known as ‘Spider’s Reversal’ in English, and it is classified as Rare. Lawrence activates this Technique in secret and continues with his business. Unbeknownst to any but him, great lengths of high-tensile wire are secretly being unspooled from his mechanical arm and woven into an unseen web. The wire has been rendered invisible by the Adjust Opacity Technique of the Film Aesthetics, and it moves as if it has a mind of its own via control from the Crafting Aesthetics. As Lawrence continues to act and fight, the web continues to build up, and every so often parts of said web will be coated with glue. Once Lawrence deems the time is right, his trap is sprung, and unsuspecting foes are nigh-instantly immobilized in a sticky prison that seemingly appeared out of nowhere.
- The Gumo no Gyakuten needs to be constantly channeled, but the activation of its second phase incurs no additional Art Costs. Lawrence personally has a thing for unveiling the culmination of the Gumo no Gyakuten when his opponents believe him to be in the midst of an ‘all is lost’ moment.
- Even for those who’ve encountered this Technique before, locating the wires is easier said than done, and getting rid of them is harder still. Plus, if one has been distracted with dealing with the wires, Lawrence can use that to his advantage.
- Can be combined with Prerogative-Landscaping and/or Prerogative-Construction Multi-Aesthetic Collaborations to phase the wires out of reality itself, essentially nonexistent until the right opportunity presents itself to the Technique user.

Quick Assembly
- [Crafting Aesthetics]
- A common Technique for Crafting Artists. It a more advanced Variant of the Quick Cobble Technique, and it allows the Artist to churn out numerous Crafted Products at breakneck rates.
- This Technique is Lawrence’s go to for rapidly forming gear, often out of whatever is lying around. Coupled with his extreme resourcefulness, the Quick Assembly Technique ensures that he is never without some sort of tool in hand.
- As with any 'shortcut’ Techniques, Crafted Products forged at such hasty speeds are often not as powerful as those painstakingly pieced together. Nevertheless, the Quick Assembly remains a valuable addition to any Grim Crafter’s repertoire.

Dismantle Product
- [Crafting Aesthetics]
- A Common Technique, almost Mandatory in fact, for both Sculptors and Crafters. Dismantle Product is the basic method for taking pre-existing things and reducing them to their more basic components. For example, a robot could be broken down to its metal parts, with miscellaneous plastics and chemicals on the side.
- The more Prerogative a Crafted Product has, the more difficult this Technique to pull off. Going back to the example above, a robot fabricated from pieces that are imbued by a lot of Prerogative might lose a finger or two, but it would remain relatively unscathed. Repeated applications of the Dismantle Product Technique would be the only way to chip away at such a robot, not unlike a battering ram consciously pounding away at a strong castle gate. And yet, if there is a large enough Prerogative difference between this Technique and its intended target, it might take an eternity before the signs of wear and tear start to appear.

Tsuihō Gyōshi no Hekishoku
- [Film-Crafting-Prerogative-Inspiration Multi-Aesthetic Collaboration, plus Remove Green Screen, Grim Artist user’s ‘Point of View’, and Unnamed Monocle Technique-Items Concurrence]
- Roughly translates to ‘Banishing Gaze of Emerald Green’, and it is classified as a Very Rare Technique. Lawrence starts to pool together a massive amount of Art Costs, energy, and Prerogative. As he does so, he locks onto a target with whichever eye is wearing his monocle Grim Device. If the target is still in view of his monocle-wearing eye by the time he activates this Technique, an enormous array of holographic green fractals flashes into view around said target. The array acts as a Green Screen, the likes of which is used in various platforms of Digital Media as a temporary background to be edited out and replaced with something envisioned by the Directing Artist. In Lawrence’s case, once he wrenches away his illusory Green Screen, the Technique’s targets will find themselves trapped in an ‘empty void’, or more specifically an ‘blank movie shot’.
- Lawrence’s Tsuihō Gyōshi no Hekishoku stems from the Chroma Key Technique, also referred to as Chroma Keying, which is a major facet of the Visual Effects sector of the Movie Industry. Chroma Keying is a Technique of the Compositing Subset Discipline of the Film Aesthetics, and one its main uses is to (seemingly) place a subject in another ‘scene’ without actually having to relocate it anywhere. Chroma Key Compositing in regular societies is what allows performers to carry out their roles within computer-generated environments whilst still being in the confines of a studio warehouse. As such, Anti-Teleportation Countermeasures are partially ignored by the Chroma Key and its Variants, because its targets have technically not done any real ‘travelling’.
- Lawrence can choose to prepare a digital ‘Movie Set’ for his targets to end up in, but with his limited Film Aesthetics experience, he prefers not to. Hence, the ‘empty void’ most of his targets wind up in. He can collaborate with more adept Film Artists to provide more well-designed and ‘immersive’ prisons, each one primed to force Acting Roles upon anyone under their influence.
- Film Artist’s well-versed in the Editor’s Avatar Technique can fire off Chroma Key Techniques repeatedly if they have physical Green Screens aiding them. What differentiates Lawrence’s Tsuihō Gyōshi no Hekishoku from its parental Variant (and classifies it as Very Rare) is its method of delivery. The Tsuihō Gyōshi no Hekishoku hinges off Lawrence’s point of view through his monocle, and the ‘Green Screen’ it generates is an incorporeal energy field that is somehow as sticky as his glues. Thus, while the Tsuihō Gyōshi no Hekishoku is slower to launch, its ‘Green Screen’ is harder to escape from once it appears.
- While Chroma Keying isn’t a taboo Technique by far, applying it in a sloppy manner is frowned upon. Poorly executed Chroma Key Techniques have been known to tear holes into a realm’s Fabric of Reality, and not all of them heal naturally, with some holes festering and growing larger with time.

Midori Mabataki
- [Tsuihō Gyōshi no Hekishoku, plus Jump Cut Multi-Technique Concurrence, plus Grim Artist user’s ‘Point of View’ and Unnamed Monocle Multi-Item Conjunction]
- Roughly translates to ‘Banishing Gaze of Emerald Green’, and it is classified as a Very Rare Technique.
- Like the Tsuihō Gyōshi no Hekishoku, the Midori Mabataki operates through Lawrence Chroma Keying via looking through his ocular Grim Device, but unlike the former Technique, the latter has no specified target other than Lawrence himself, and he need only gaze off into the distance to cause his holographic ‘Green Screen’ array to envelop him. In practice, Lawrence is Chroma Keying everything around him, replacing it all with a ‘scene’ of his choosing. The Midori Mabataki doesn’t usually designate a ‘movie scene’ as its ‘destination’, and it will always ‘deposit’ Lawrence at a ‘live-action’ location. Once again, Lawrence isn’t teleporting, so Interdiction-Type Techniques tend to fail against the Midori Mabataki.
- The use of this Technique can be frustrating for both Lawrence’s allies and enemies. Although the Midori Mabataki is cheaper than the Tsuihō Gyōshi no Hekishoku, once Lawrence vanishes from the battlefield his Art Costs have the habit of derailing his line of thought entirely, causing him to forget about those he should have been fighting or helping. Lawrence is notorious for activating this Technique on sheer reflex if someone tries to interrupt him during one of his Crafting Fevers.

Quick Strike, Bladework Variant
- [Combat Aesthetics, Bladework Subset Discipline]
- A Common Technique that’s widely used by Combat Artists, and it has innumerable Variants. A Quick Strike is exactly as it sounds. This Technique greatly magnifies the speed of a blow, sometimes to the point that no time elapses between a Combat Artist getting into a stance and making contact with a target.
- Quick Strikes are surprisingly expensive, and they’re hard to use in conjunction with Attack-Amplifying Technique. But, to an opponent who’s careless or unprepared, a well-placed Quick Strike is almost always spells certain defeat.
- This Technique is not compatible with all Artists. Not everyone has the Prerogative, Essence, or Lineage to set up, carry out, and survive this Technique's mechanics.
- While speed is not in question, the power behind a Quick Strike can be lacking. As with any ‘hurried’ Techniques, the Quick Strike trades raw strength for swiftness. A sturdy-enough defense is usually enough to render most Quick strikes ineffective. Grim Artists with Innate Prerogative Forms that possess extreme Prerogative Regeneration can also nullify any damage from Quick Strikes, ‘dismissing’ wounds simply by interacting with them as if they were fictional.

Striking Cobra’s Sight
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- An Uncommon Technique, but still widely used by Combat Artists. On a basic level, it allows one to pinpoint and track all weak spots, vital points, and joints on a living target. This Technique also allows the user to strike with perfect accuracy if aiming for the aforementioned zones; no accuracy bonus is granted if the user aims anywhere else.
- Note that strikes aided by the Striking Cobra’s Sight can still be blocked; it only guarantees the surety of one’s aim, not the extent of one’s impact.
- This Technique is relatively cheap to activate and to channel.

Clockwork Cobra’s Sight
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- An Uncommon Technique, but still widely used by Combat Artists. On a basic level, it allows one to pinpoint and track all weak spots, vital points, and joints on a mechanical target. It's a Technique Variant of the Striking Cobra’s Sight that’s nearly identical in purpose, but it geared towards machines instead of fleshly bodies.
- This Technique zooms in more on vital components that could cripple an entire mechanical system if they are compromised, but one must be able to see them to aim for them. If one wishes to use this on the innards of a machine, one must expose them first.

Eagle Sage’s Precognition
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- Also called Hunter's Foresight and Oracle's Instinct, among other names. This Technique is simply a heightened ability to read all subtle ‘telegraphing’ of a Target, like weight shifts and muscle twitches. This Technique then allows the user to effectively calculate where, when, and how a target intends to move or act. All data is analyzed within the user’s subconscious, freeing up their mind to prepare or react accordingly.
- The accuracy of this Technique varies from Artist to Artist. Some might have a large field of error. Some might get their timing off by a little. Some might need to be within a certain proximity of their Target. Some Artists can even see the electrical activity in circuits or brains. As usual, it all depends.

Trivia:
- The timepiece Lawrence wears is a glass bubble that’s half-filled with water, and it is attached to a small gold chain and clip. Floating on the water is a small wooden sun dial outfitted with a magnetized needle. No matter how the timepiece is held, the sundial will always remain right-side up and pointing north. He says it’s not a Grim Device, hence its exclusion from that section, but one can never be too sure with Lawrence.
- Never goes anywhere without at least one sword, favoring the Ko-katana and Saber besides his Guardian’s River and Swift Mercy.

GRIM RENAISSANCE ARCHIVE:

(List of links to be rebuilt)

THE DEVIANT FEATURED IN THIS ROSTER IS:
- Edits have been made to the original draft in order to fit into the setting, and/or for reading purposes.
- A reference may be found here: [LINK]

Description
Titles and Alternate Names:
- 'Takeninja'.
- Usually just called Lawrence, but he is also often referred to by his Title.

Age:
- Never speaks his age, despite appearing to be in his mid-twenties. Often alludes to ancient times gone by as though he had experienced them first hand. He carries himself about as if he were as old as time itself, or at the very least has experienced a few hundred birthdays.
- Considering his Art Costs, this secrecy might be (in all likelihood) just a behavioral quirk.

Nationality:
- Japanese and Native American.

Appearance:
- Tall, with curly black hair. Lawrence has a pencil-thin mustache and goatee, and possesses a slightly husky, stocky build. He is not overly tanned, but his skin shines with a subtle orange hue due to ethnicity. His left arm is entirely mechanical from the forearm to the hand.
- Typical attire includes a black button-up shirt, matching dress pants, and a brown belt. There's a holster on his right hip and a leather sword frog on his left, as well as bandoliers of cartridges across his torso. Unusually wide sleeves and pant-legs to allow for high range of motion and add a billowiness to his appearance. Along with his preferred footwear (Japanese Tabi) Lawrence’s getup is an altogether peculiar image, one capped off by a time piece of his own design that’s clipped to his hip pockets.
- The green monocle Lawrence is known for sporting seems to be switchable between both eyes.

Background:
- Everyone on Vidan’s team seems to have heard of a few of Lawrence's misadventures. His colleagues in particular aren't overly shocked whenever he pops up unexpectedly in some place new in what seems to be a scholarly quest. His reputation appears to precede him everywhere he ventures, and the most familiar greeting that's thrown his way is 'Oh, you're that Lawrence'.
- Not even Vidan is overly sure where Lawrence comes from. The denizens of the Renaissance Realm that Lawrence originates from, rumored to be quite far from the Forgewater Grim Renaissance, seem to view him much like a kindly old janitor who's always working quietly in the background.

Personality:
- Super friendly and easy-going, Lawrence tends to address everyone as a friend, but rarely assumes people outside of his inner circle know him as more than a novelty act. Lawrence takes to heart the idea that 'everything can be a sandwich', and as such he is always looks for new ways to mix and mess with functionalities in search of a more versatile result, like his signature six-barrel Glue-Gun.
- Perhaps the most curious aspect of Lawrence is what occurs whenever inspiration strikes him with an idea for an Artwork, be it of Crafting or of another Grim Aesthetic. Lawrence will fall into a trance-like state he calls the ‘Fever’, and while it’s in effect he’ll obsessively work on whatever project he was just inspired to do. Lawrence’s ‘Fevers’ can vary in length, but their details are consistent:
- First, is that their onset is unstoppable. Once Lawrence feels one coming on, there’s nothing he can do to stave it off; Fevers can be interrupted, but such intermissions are short.
- Second, is that they drive him to a near fanatical tirelessness to complete his so-called Fever Projects, and those mostly revolve around altering objects with the goal of improving them in any way he can, which is why most of his Fevers are Crafting Fevers. Lawrence might start out with a thimble and end up with a complete set of armor.
- Third, is that the notion of practicality and rationality don’t become as important to Lawrence during his Fevers. It’s almost as if he tinkers for the sake of tinkering.
- Lastly, the recollection of events is a futile attempt at best. Lawrence is never fully aware of what he has done during his Fevers. By extension, any gizmo or contraption that a Crafting Fever Project has produced is mostly a puzzle to Lawrence; he often has no idea what it does, what its true potential is, and what special capabilities it might possess. That is if Lawrence can even remember whether what he made was the result of a Fever Project or not. In the past, he has mistaken more than one Crafting Fever Product as something regular instead.
- Outside of the Fever, Lawrence appears to have little to no focus, and he seems to flutter absentmindedly between thoughts, ideas, and actions. However, while his doings appear to be muddled and fragmented to the average observer, they’re all intertwined deep within the recesses of his subconscious. In other words, there’s still method to his madness.

Grim Artist Class:
- Dilettante; much more powerful than an Apprentice. Can exhibit more advanced Grim Techniques and has refined the basics ones to the point where they can be used for more complex and potent moves. Is outclassed by a Savant Class Artist and definitely no match for a Virtuoso Class Artist.
- Lawrence is a High-Rank Dilettante, meaning that he is ready to graduate into the Savant Class.

Grim Art Type:
- Soul Art. Lawrence’s mental/emotional existence fuels his Grim Art’s own.

Grim Aesthetics:
- Lawrence is a Balanced-Repertoire, one that’s adept in the Combat and Crafting Aesthetics, and with the former he gravitates towards both Bladework and unorthodox Martial Arts. His Crafting covers a few fields of study, though machinery seems to be a central theme.
- His repertoire is starting to spread out, not to the point of being a Semi-Generalist, but enough to disqualify him from being a Semi-Specialist. Lawrence’s has involvement with Landscaping, the Architecture Subset Discipline of Construction, and Film, and thus is in the middle of the Generalist and Specialist archetypes. He even has training with the classical forms of Gaming, that is, Paper Games, Board Games, and so on, but he doesn't really consider those as making up their own Aesthetic.
- Lawrence practically a Savant with the Combat and Crafting. His other Aesthetics are probably High-Rank Apprentice or Dilettante in terms of advancement.
- ‘I may not be the best at anything but I'm going to make to 10 in everything’, is his attitude towards the other Aesthetics that aren’t as well-developed as his Crafting and Combat.

Grim Devices:
- The Guardian's River: Lawrence’s weapons of choice comes as a pair. One half of this pair is a blade that started its life as a mundane Shobu Zukuri. Inspired by the Shinken Stance of Kenjutsu (which favored defensive options over offense), the intention behind the project was to create a blade that could discourage a melee clash by keeping the full length of the weapon between the user and an opponent, possibly preventing a savage escalation into bloodshed. A Shobu Zukuri blade design was decided upon, but as Lawrence became more invested into the project his Crafting Fever set in. The blade was lightened, and the handle shortened, turning it into a one-handed weapon. This allowed the user to increase the reach of their stance. Finally, the tsuba was altered to create a more comprehensive guard. The result was a sword that followed the Sasayaku Lineage’s ideal of soft redirection, an ideal that Lawrence abides by. The design of the Guardian’s River allowed for attack deflections with the back half of the blade without overly altering the orientation of the front of the blade. Lawrence’s Crafting Fever did not subside, however, for a counterpart idea had arisen to the Guardian’s River.
- Swift Mercy: Lawrence might be a lover of pacifism, but that doesn’t mean he won’t fight when he must. He is familiar with the notion of deterrence: 'the stroke of one sword may stop 1000 from being drawn', as he once heard. Again, a Shobu Zukuri shape was decided upon. This time, the blade was shortened for a faster draw, the handle lengthened to compensate the loss of power. The dark sibling of the Guardian's River was thus born. Its name was Swift Mercy: the killer that saved lives.
- Kessho Oji: Its name in English is Crystal Prince, and it is a gift of the Sasayaku Lineage to all those who become a student of theirs. This softly-glowing, semi-transparent, ethereal-looking curved sword is the result of a potent Substance-Matrimony Technique, which fuses two or more materials into a brand new one. In this case, it's a Substance-Matrimony of Glass and Platinum, which is then molded, folded, and hammered into a sword of great worth and beauty. The Kessho Oji also boasts the ability to dispel even the most violent Energy and/or Light-Based Techniques via refraction.
- Unnamed Monocle. Allows Lawrence to channel a bunch of Film Aesthetic Techniques.
- Unnamed Glue Gun.
- Unnamed Mechanical Arm. It’s unknown whether Lawrence’s metallic limb is an actual prosthetic or what is known as an Avatar Prosthetic, which is printed over the existence of a body part; the destruction of an Avatar Prosthetic results in the original body part reappearing as if nothing has happened. Lawrence tends to avoid giving a definite answer. Regardless, his arm dispenses a high-tensile wire from the wrist, and this wire is often used in his Art projects.

As an Artist:
- Lawrence barely thinks of himself an ‘artsy’ person in a generic sense. In his eyes, he’s more like a bumbling scientist seeking enlightenment through more ‘Non-Artistic’ means, despite Art in the Grim Renaissance thoroughly permeating what most other societies would have considered ‘Non-Art’ – even Science in the Grim Renaissance is a joint Subset Discipline of the Inspiration and Prerogative Aesthetics.
- Still, Lawrence seeks knowledge and refinement in a quest to achieve a fusion of beauty and functionality through the perfection of Technique and Form. Perfection of his trades alone isn’t enough for him, however. Lawrence wishes to explore simpler ways to capture and/or convey the variety of the world around him in his Crafted Products, driven by what he believes is his twisted view of ‘balance’.
- He loves passing on both his notes and his projects onto others, as the act of sharing in itself brings him inner peace and a great sense of fulfillment.
- The combination of his derailment-prone line of thought, his thirst for learning, and the fact that he is an incurable hoarder of anything that may be usable for parts means Lawrence is constantly adding to his pile of back-logged projects. He's always up to his eyeballs in unfinished projects, or drowning in unsorted piles of finished ones, in addition to other clutter.
- The only thing beyond Lawrence’s desire to disassemble, replicate, assimilate, and improve is the Way of the Sword itself, which he treats with an almost mystic reverence. It comes as no surprise that his most consistent companions are his weapons. Lawrence aims to study and then bring together as many Bladework Styles as he can, experimenting with the lot in the hopes of producing one Style with which he will finally achieve one of the few things he truly craves and idolizes: the perfect cut.

As a Grim Artist:
- Lawrence's fascination with reverse engineering whatever catches his curiosity is the heartbeat of all his Crafting Techniques, but he also applies it to his other great love, which is the Combat Aesthetics. Lawrence has carefully inspected many different Martial Art Styles, broken them down, and tried to replicate what he could.
- Much like what happens during his Crafting Fevers, however, what started as a simple observation of Fencing and Tai-Chi has mutated into a fighting style that can only be described as a complete wild-card. Lawrence’s nameless Martial Art definitely has principles of Jū and Taoism comprising its foundations, of which the two hold the ‘formlessness’ and ‘adaptability’ of water in high regard. Consequently, just like water, Lawrence’s fighting style might have him devoted to a tranquil defense in one moment, and crashing into an opponent like a tidal wave in the next.
- When called to the attack, Lawrence tends to be very hands-on, relying primarily on his talent for close-quarters melees and his ability to handle his swords, trusting that between those he can continue to wear down an enemy with deflections and counterattacks until he's in the perfect position to deliver a precise finishing stroke.
- Attack and defense aren’t Lawrence’s only strong points. He becomes a proficient strategist once enough of his adrenaline is coursing through him, in stark contrast to his normally addled demeanor. His tactics often involve covertly releasing his arm’s metal wires in an attempt to ensnare his foes. His Glue Gun works wonders encumbering enemies too, and Lawrence will open fire on joints, eyes, barrel tips, or wherever he deems a well-placed shot can do the most good. As his adrenaline continues to focus his mind, Lawrence will litter the battlefield with concealed Crafted Products. Traps, decoys, reconnaissance contraptions, navigational gear: he rarely fabricates any complicated machinery, but they’re always well-made enough to be a threat. He can even play the part of an improvised field medic, sealing up wounds or delaying Negative Effects with his glues. And, if the situation requires it, he has no qualms with retreating to a safe distance so that he can prepare for his next assault.

Art Costs:
- Lawrence's Grim Art eats away at his conscious awareness. Per project completed, per Technique acquired, or per Aesthetic or Subset Discipline learned, Lawrence permanently loses a tiny bit of his ability to communicate with and/or articulate to others. His Art Costs also eats away at his capacity to perceive social undercurrents.
- Fortunately, individual instances of his Art Costs are very minor. Whenever they’re exacted, Lawrence experiences no crippling side effects whatsoever (certainly nothing that hinders his skill as a Grim Artist) which means he could theoretically perform his Techniques with indefinite, reckless abandon. But that’s actually what makes his Art Costs deceptively problematic.
- Due to the sheer number of projects he’s undertaking (and the Art styles that he’s dabbling in) Lawrence’s mind is still falling apart at an alarming rate. His Crafting Fevers don’t help his situation either, and they have all but doomed Lawrence to consume himself, unable to break his addiction to learn and manufacture.
- At present, the totality of his Art Costs manifests itself as simple absentmindedness. However, it is speculated that (if he doesn’t take precautions to heal his Art Costs) one day Lawrence will lose his sanity altogether. Then, he will mindlessly churn out wondrous Crafts without word or reason, imitate fighting forms on instinct, and possibly even turn feral. It is a fate that will condemn him to existing as a cross between an Artist and a natural disaster, nevermore to think, speak or love.

Favored Moves:
- Lawrence is an experienced Grim Swordsman and Crafter, and his repertoire is supplemented by a huge selection of Utility-based Techniques. While he possesses no Summoned Characters, he more than makes up for it with a clever and cunning skill set. Those without Prerogative over or knowledge of Film and Crafting Techniques tend to have a hard time against him.

Kakashi no Tomegane, ‘Spider’s Variant’
- [Combat-Prerogative-Crafting Multi-Aesthetic Collaboration, plus various Sword Devices and Crafting Glue Multi-Item Conjunction]
- Also known as ‘Scarecrow’s Clasp’ in English. Lawrence enshrouds his swords in an Anti-Prerogative Aura, along with a healthy coating of glue. He then proceeds to drive his swords through his opponent at various angles. The Anti-Prerogative Aura keeps the swords from doing any physical harm – they are now attuned to only affecting Prerogative itself – but since Lawrence’s target now has the equivalent of steel rods permeating it, movement is heavily restricted. The Glue prevents the swords from being pulled out, and they will remain in their victim until its Prerogative has been completely drained.
- Doubles as a Binding and Prerogative-Depleting Technique, and one of the reasons why the Sasayaku are renowned for beating foes without having to destroy them.
- Normally classified as a Very Uncommon Technique, the regular Variant doesn’t use glue, which is why Lawrence’s ‘Spider’s Variant’ is classified as Rare. Of course, being a Sasayaku Technique, it was created with pacifism in mind. There are many more malevolent Variants that use Anti-Prerogative Auras which don't hamper a weapon’s ability to cause physical damage, with some intentionally prolonging the suffering of a victim.
- Normally performed with Lawrence’s two signature weapons, but the more the merrier.
- Extremely effective against Artists with an Innate Prerogative Form. Some Grim Renaissances, like the Forgewater Renaissance, have denizen Grim Artists whose corporeal existences are directly connected to their Prerogative. That is, they are ‘a Figment of their own Imagination’. To wit, ‘they think, therefore they are’. They don’t sustain wounds or ailments like other humans would, for such things are only as factual to them as their Prerogative will permit. Consequently, depleting them of their Prerogative is to cause their existence to cease without needing to employ any other methods of harm.

Gumo no Gyakuten
- [Combat-Crafting, plus Adjust Opacity, plus Wire Product Aesthetics-Technique-Item Collaboration]
- Also known as ‘Spider’s Reversal’ in English, and it is classified as Rare. Lawrence activates this Technique in secret and continues with his business. Unbeknownst to any but him, great lengths of high-tensile wire are secretly being unspooled from his mechanical arm and woven into an unseen web. The wire has been rendered invisible by the Adjust Opacity Technique of the Film Aesthetics, and it moves as if it has a mind of its own via control from the Crafting Aesthetics. As Lawrence continues to act and fight, the web continues to build up, and every so often parts of said web will be coated with glue. Once Lawrence deems the time is right, his trap is sprung, and unsuspecting foes are nigh-instantly immobilized in a sticky prison that seemingly appeared out of nowhere.
- The Gumo no Gyakuten needs to be constantly channeled, but the activation of its second phase incurs no additional Art Costs. Lawrence personally has a thing for unveiling the culmination of the Gumo no Gyakuten when his opponents believe him to be in the midst of an ‘all is lost’ moment.
- Even for those who’ve encountered this Technique before, locating the wires is easier said than done, and getting rid of them is harder still. Plus, if one has been distracted with dealing with the wires, Lawrence can use that to his advantage.
- Can be combined with Prerogative-Landscaping and/or Prerogative-Construction Multi-Aesthetic Collaborations to phase the wires out of reality itself, essentially nonexistent until the right opportunity presents itself to the Technique user.

Quick Assembly
- [Crafting Aesthetics]
- A common Technique for Crafting Artists. It a more advanced Variant of the Quick Cobble Technique, and it allows the Artist to churn out numerous Crafted Products at breakneck rates.
- This Technique is Lawrence’s go to for rapidly forming gear, often out of whatever is lying around. Coupled with his extreme resourcefulness, the Quick Assembly Technique ensures that he is never without some sort of tool in hand.
- As with any 'shortcut’ Techniques, Crafted Products forged at such hasty speeds are often not as powerful as those painstakingly pieced together. Nevertheless, the Quick Assembly remains a valuable addition to any Grim Crafter’s repertoire.

Dismantle Product
- [Crafting Aesthetics]
- A Common Technique, almost Mandatory in fact, for both Sculptors and Crafters. Dismantle Product is the basic method for taking pre-existing things and reducing them to their more basic components. For example, a robot could be broken down to its metal parts, with miscellaneous plastics and chemicals on the side.
- The more Prerogative a Crafted Product has, the more difficult this Technique to pull off. Going back to the example above, a robot fabricated from pieces that are imbued by a lot of Prerogative might lose a finger or two, but it would remain relatively unscathed. Repeated applications of the Dismantle Product Technique would be the only way to chip away at such a robot, not unlike a battering ram consciously pounding away at a strong castle gate. And yet, if there is a large enough Prerogative difference between this Technique and its intended target, it might take an eternity before the signs of wear and tear start to appear.

Tsuihō Gyōshi no Hekishoku
- [Film-Crafting-Prerogative-Inspiration Multi-Aesthetic Collaboration, plus Remove Green Screen, Grim Artist user’s ‘Point of View’, and Unnamed Monocle Technique-Items Concurrence]
- Roughly translates to ‘Banishing Gaze of Emerald Green’, and it is classified as a Very Rare Technique. Lawrence starts to pool together a massive amount of Art Costs, energy, and Prerogative. As he does so, he locks onto a target with whichever eye is wearing his monocle Grim Device. If the target is still in view of his monocle-wearing eye by the time he activates this Technique, an enormous array of holographic green fractals flashes into view around said target. The array acts as a Green Screen, the likes of which is used in various platforms of Digital Media as a temporary background to be edited out and replaced with something envisioned by the Directing Artist. In Lawrence’s case, once he wrenches away his illusory Green Screen, the Technique’s targets will find themselves trapped in an ‘empty void’, or more specifically an ‘blank movie shot’.
- Lawrence’s Tsuihō Gyōshi no Hekishoku stems from the Chroma Key Technique, also referred to as Chroma Keying, which is a major facet of the Visual Effects sector of the Movie Industry. Chroma Keying is a Technique of the Compositing Subset Discipline of the Film Aesthetics, and one its main uses is to (seemingly) place a subject in another ‘scene’ without actually having to relocate it anywhere. Chroma Key Compositing in regular societies is what allows performers to carry out their roles within computer-generated environments whilst still being in the confines of a studio warehouse. As such, Anti-Teleportation Countermeasures are partially ignored by the Chroma Key and its Variants, because its targets have technically not done any real ‘travelling’.
- Lawrence can choose to prepare a digital ‘Movie Set’ for his targets to end up in, but with his limited Film Aesthetics experience, he prefers not to. Hence, the ‘empty void’ most of his targets wind up in. He can collaborate with more adept Film Artists to provide more well-designed and ‘immersive’ prisons, each one primed to force Acting Roles upon anyone under their influence.
- Film Artist’s well-versed in the Editor’s Avatar Technique can fire off Chroma Key Techniques repeatedly if they have physical Green Screens aiding them. What differentiates Lawrence’s Tsuihō Gyōshi no Hekishoku from its parental Variant (and classifies it as Very Rare) is its method of delivery. The Tsuihō Gyōshi no Hekishoku hinges off Lawrence’s point of view through his monocle, and the ‘Green Screen’ it generates is an incorporeal energy field that is somehow as sticky as his glues. Thus, while the Tsuihō Gyōshi no Hekishoku is slower to launch, its ‘Green Screen’ is harder to escape from once it appears.
- While Chroma Keying isn’t a taboo Technique by far, applying it in a sloppy manner is frowned upon. Poorly executed Chroma Key Techniques have been known to tear holes into a realm’s Fabric of Reality, and not all of them heal naturally, with some holes festering and growing larger with time.

Midori Mabataki
- [Tsuihō Gyōshi no Hekishoku, plus Jump Cut Multi-Technique Concurrence, plus Grim Artist user’s ‘Point of View’ and Unnamed Monocle Multi-Item Conjunction]
- Roughly translates to ‘Banishing Gaze of Emerald Green’, and it is classified as a Very Rare Technique.
- Like the Tsuihō Gyōshi no Hekishoku, the Midori Mabataki operates through Lawrence Chroma Keying via looking through his ocular Grim Device, but unlike the former Technique, the latter has no specified target other than Lawrence himself, and he need only gaze off into the distance to cause his holographic ‘Green Screen’ array to envelop him. In practice, Lawrence is Chroma Keying everything around him, replacing it all with a ‘scene’ of his choosing. The Midori Mabataki doesn’t usually designate a ‘movie scene’ as its ‘destination’, and it will always ‘deposit’ Lawrence at a ‘live-action’ location. Once again, Lawrence isn’t teleporting, so Interdiction-Type Techniques tend to fail against the Midori Mabataki.
- The use of this Technique can be frustrating for both Lawrence’s allies and enemies. Although the Midori Mabataki is cheaper than the Tsuihō Gyōshi no Hekishoku, once Lawrence vanishes from the battlefield his Art Costs have the habit of derailing his line of thought entirely, causing him to forget about those he should have been fighting or helping. Lawrence is notorious for activating this Technique on sheer reflex if someone tries to interrupt him during one of his Crafting Fevers.

Quick Strike, Bladework Variant
- [Combat Aesthetics, Bladework Subset Discipline]
- A Common Technique that’s widely used by Combat Artists, and it has innumerable Variants. A Quick Strike is exactly as it sounds. This Technique greatly magnifies the speed of a blow, sometimes to the point that no time elapses between a Combat Artist getting into a stance and making contact with a target.
- Quick Strikes are surprisingly expensive, and they’re hard to use in conjunction with Attack-Amplifying Technique. But, to an opponent who’s careless or unprepared, a well-placed Quick Strike is almost always spells certain defeat.
- This Technique is not compatible with all Artists. Not everyone has the Prerogative, Essence, or Lineage to set up, carry out, and survive this Technique's mechanics.
- While speed is not in question, the power behind a Quick Strike can be lacking. As with any ‘hurried’ Techniques, the Quick Strike trades raw strength for swiftness. A sturdy-enough defense is usually enough to render most Quick strikes ineffective. Grim Artists with Innate Prerogative Forms that possess extreme Prerogative Regeneration can also nullify any damage from Quick Strikes, ‘dismissing’ wounds simply by interacting with them as if they were fictional.

Striking Cobra’s Sight
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- An Uncommon Technique, but still widely used by Combat Artists. On a basic level, it allows one to pinpoint and track all weak spots, vital points, and joints on a living target. This Technique also allows the user to strike with perfect accuracy if aiming for the aforementioned zones; no accuracy bonus is granted if the user aims anywhere else.
- Note that strikes aided by the Striking Cobra’s Sight can still be blocked; it only guarantees the surety of one’s aim, not the extent of one’s impact.
- This Technique is relatively cheap to activate and to channel.

Clockwork Cobra’s Sight
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- An Uncommon Technique, but still widely used by Combat Artists. On a basic level, it allows one to pinpoint and track all weak spots, vital points, and joints on a mechanical target. It's a Technique Variant of the Striking Cobra’s Sight that’s nearly identical in purpose, but it geared towards machines instead of fleshly bodies.
- This Technique zooms in more on vital components that could cripple an entire mechanical system if they are compromised, but one must be able to see them to aim for them. If one wishes to use this on the innards of a machine, one must expose them first.

Eagle Sage’s Precognition
- [Combat Aesthetics, Martial Arts Subset Discipline, Kung Fu Subset Discipline]
- Also called Hunter's Foresight and Oracle's Instinct, among other names. This Technique is simply a heightened ability to read all subtle ‘telegraphing’ of a Target, like weight shifts and muscle twitches. This Technique then allows the user to effectively calculate where, when, and how a target intends to move or act. All data is analyzed within the user’s subconscious, freeing up their mind to prepare or react accordingly.
- The accuracy of this Technique varies from Artist to Artist. Some might have a large field of error. Some might get their timing off by a little. Some might need to be within a certain proximity of their Target. Some Artists can even see the electrical activity in circuits or brains. As usual, it all depends.

Trivia:
- The timepiece Lawrence wears is a glass bubble that’s half-filled with water, and it is attached to a small gold chain and clip. Floating on the water is a small wooden sun dial outfitted with a magnetized needle. No matter how the timepiece is held, the sundial will always remain right-side up and pointing north. He says it’s not a Grim Device, hence its exclusion from that section, but one can never be too sure with Lawrence.
- Never goes anywhere without at least one sword, favoring the Ko-katana and Saber besides his Guardian’s River and Swift Mercy.

GRIM RENAISSANCE ARCHIVE:

(List of links to be rebuilt)

THE DEVIANT FEATURED IN THIS ROSTER IS:
- Edits have been made to the original draft in order to fit into the setting, and/or for reading purposes.
- A reference may be found here: [LINK]