Holy Concerto Series

Spoiler:

» Reiryoku Technique Name: Holy Concerto Series – Heavy Metal #1
» Reiryoku Technique Type: Combat Utility

» Reiryoku Technique Usage: Exclusive to Sofia

» Reiryoku Technique Effects: When the technique is used, the surroundings within a 100 meter in diameter of Sofia darken. It doesn’t become as dark as to where one can’t see, but it’s sufficiently so enough to be considered comparable to nightfall in the absence of all light except for that of the moon. From the air, the ceiling, or the trees if there are any available, strings of a nature unknown seem to hang down around her suspending several doll pieces. Some strings keep a hold of an arm, others keep a hold of a leg. Others keep hold of cute but aged and dirty doll heads, all of which are missing one eye. Even to the more avid of individuals with extremely perceptive eyes, it would likely take a while to figure out how many dolls there were. Why? Mainly because they’re separated into pieces and it would be difficult to tell which belong to which. After all, even when Sofia plays her music and wills them to join together, some dolls still seem to be missing some limbs, as if they were meant to be that way.

The amount of dolls she can have active largely depends on her energy. As such she’s limited to ten dolls ordinarily, and 20 in a release state. Each doll is roughly a foot and a half tall. And though some have their limbs and some don’t, just about every one of them seems to have only one eye. Through the dolls, Sofia is able to peer into her surroundings as she would through hers, making the technique unique and useful for scouting. Upon creation of the technique, Sofia uses her own energy signature as the basis, and foreign sources of energy as the other. That foreign source of energy, or rather the individual, is then engineered to represent and symbolize the mother of the dolls. The art behind the Heavy Metal #1 of the Concerto Series revolves around a song where the mother, so caught up with her life and her career, discarded her children before they were born for things she deemed more important. And now, the past comes back to haunt her. As the song unfolds before the opponent, the dolls seek to reunite with their mother and make her a part of them as they were once a part of her; by feeding.

Essentially the dolls will crawl, limp, walk, jump, or run towards the opponent in an effort to tug and take bites and pieces out of them to be ingested. Although the dolls act largely out of their own accord, Sofia is able to influence them to walk or run or limp if she so desires. Given that the dolls are not too big to begin with, the diameter of their bite is roughly around three inches. Their teeth project from their gums as sharp serrated incisors more akin to that of a seesaw. The only damage the dolls can cause is that of bites, and scratches. Their bites don’t really slice cleanly but rather shave and tear. Destroying a doll is not difficult. A fairly decent energy blow or hit would cause a doll to shatter and break. However, given that they’re so fragile, Sofia engineered a method to keep them just moments more. Each time a doll is delivered a decisive blow, the one eye they possess would disintegrate. If the doll were to be hit again by any attack it would be destroyed as it has no more eyes to use. On the flipside, Sofia may allow a doll to surrender its eye to maintain another doll in the battlefield. When an eye is destroyed, the doll echoes an eerie baby laughter that drowns the area. If the doll is destroyed, a loud baby cry haunts the area where it once was.

Just like a song, the effects do not last very long. The technique is active for only a maximum of four posts ordinarily, or six posts if used during a release to account for the massive surge in energy. However, if all dolls are destroyed then the technique ends right away. And as a brilliant work of musical art it should only be seen once, so that it may be remembered forever. As such, once Heavy Metal #1 has been used in a battle, it cannot be used again on the same fight. There’s even one more unfortunate byproduct of the ability. Since it uses only Sofia’s energy as the basis, it does not differentiate or discriminate between friend and foe. As such, if used around her allies, they too would be vulnerable just as the enemy would, and Sofia would be forced to take time and focus to keep them from harm.

» Notes:
Alle warten auf das Licht
Fürchtet euch, fürchtet euch nicht
Die Sonne scheint mir aus den Augen
Sie wird heute Nacht nicht untergehen
Und die Welt zählt laut bis zehn (lyrics)

» Reiryoku Technique Name: Holy Concerto Series – Classical & Metal
» Reiryoku Technique Type: Offensive

» Reiryoku Technique Usage: Exclusive to Sofia

» Reiryoku Technique Effects: A true masterpiece in her concerto series, the classical & metal is pretty self-explanatory. Sofia creates a beautifully insidious but enthralling melody with her unique ability that mixes classical music and metal rock in ways almost unheard of. Once the technique is used, the general surroundings do not change much aside from around Sofia. Behind her, a wall of black would appear as it melds with the view of the sky. Technically, it would look as though the area behind her was so dark as to mimic nightfall. This does not hide Sofia, and neither does it make it difficult to see the surroundings. Instead, it is meant to represent the dim lighting, or lack thereof around a stage where a performer is about to create a work of art. The dark look of the sky is only visibly behind Sofia as its tagged to her spiritual signal, and as such, if she were to move, so would the darkened effect.

Above her, a figure would show itself to resemble greatly the opponent she is facing. When faced with multiple opponents, Sofia may pick one. The figure only mimics the look of the opponent at the time of creation. If through a transformation or ability the opponent’s look changes, the figures wouldn’t. The figure doesn’t copy things like techniques or abilities, or even knowledge. It only copies their physical look. There are just some inherent differences. For starters they look paler than the opponent. Their clothes are also changed to a either dress of white or a suit of white. Said clothing item has streaks of blood that don’t appear to belong to it. If one looks closely, it would be noted that the figure does not have eyes, but rather sunken black holes, almost like a void, where streams of blood continue to trickle down onto the dress before stopping. Essentially it leaves the red trails of marks from the eyes to the clothing. From its arms, head, and back, several strings seem to dig deep below the surface of those areas. They don’t look like reishi strings but almost as items that were forcefully placed there. Nonetheless, if one were to tug or pull they would not come out, almost as if they belonged there. And about ten meters of string up, two large hands, each spanning about five meters in length seems to manipulate and dictate its movements. For all intents and purposes, the hands stand as a visual representation of Sofia’s mind and will in the technique. As a representation, the strings are just there for show, as even if they were caught, the hands would continue to puppeteer the figure as Sofia uses her mind to control it. Even higher above the hands, two theater masks of white, happiness and sadness, hang suspended. Initially, sadness glows intermittently. While this occurs the figure continues to lament and cry, as echoes of eerie sorrow drown the surroundings. When only the happiness mask is available, its glow causes the figure to behave as an extremely hyper and excited individual with an avid taste and desire to kill for the fun of it.

The figure is able to use almost any attack Sofia knows but within plenty of exceptions. It cannot use items that only Sofia possesses. That means it cannot use seele Schneider, or ginto, or her regalia, or even ginto spheres. Instead, it is only able to use reishi and reiryoku techniques, hand to hand combat, and to depend on the geigenbogen as her main weapon. However, when only one mask is available, the sheer joy and excitement of the battle enables the figure to use any means of attack Sofia has at her disposal. The figure is also deaf, and thus depends on Sofia to guide it by sight. It does however possess an incredibly potent sense of smell and hearing, likely as a result of giving up sight. It enables the figure to pick up almost any scent, or to catch on to even the lowest of decibel sounds, and transmit the information to the Quincy. Every action of the figure is commanded by Sofia’s will, which is represented by the hands of the puppeteer. The figure is extremely strong, although it would never quite be as powerful as Sofia. Nonetheless, if at any time the figure is dealt a decisive blow which should have caused it to perish, one of the opera masks would disintegrate. If the figure is struck a deadly blow two different times, then with no available masks the figure too would disintegrate into nothing along with the technique. If the opponent however chose to target the hands or the masks outright, then rather than destroying them, the opponent would simply be damaging and lowering some of the spiritual energy Sofia has fueling the technique. Like every masterpiece in art, the song does not last very long. The figure cannot remain out for more than four posts ordinarily, and six posts if used during a release. However, if enough deadly blows are dealt, then the figure and the technique could very well end much sooner than anticipated. If for any reason the technique ends, Sofia is unable to create the same song again in the battle.

» Notes:
Die Sonne scheint mir aus den Händen
Kann verbrennen, kann euch blenden
Wenn sie aus den Fäusten bricht
Legt sich heiß auf das Gesicht
Sie wird heute Nacht nicht untergehen
Und die Welt zählt laut bis zehn (song)