Section 1, Truths:
    Within the preferences of Tommy as a creator of characters there is a simple trio of truths or facts that will invariably describe each character made. These are immutable, unlike the axis system that follows, and are prime directives whose violation tends to negate the possibility of the character in question being one for Tommy. Characters tend to be retired if they attain qualities that would violate these, and if the game prohibits any of these from being possible it is likely Tommy will simply opt out, as the game will render all possible Tommy character concepts non-viable.
 
1) Immortal. The character will in some way defeat their own demise at the hands of time, and become an immortal in regards to their ability to continue existing indefinitely if unhindered by others. This might be a goal the character wants to achieve, this might be a quality inherent to their race, or it might be something that happens to them, but was not an intentionally achieved quality. They might do so from having an indefinite lifespan, continuously changing bodies, or even simply by being outside the natural process of life and death. Regardless of how or why, they will always become unlimited in personal time to spend living, or otherwise be retired somewhere in the progression towards this point.
    This has a flipside, in the form of rejecting of deathly iconography. The character will never use the powers of ice, will never raise undead beyond true ghosts, or use necromancy for any purpose other than true life power as identified in the axis of life force below, and will never use a scythe or hard projectile-shooting ranged weapon, save some (but very few) bows or thrown weapons. The character will never be found wearing armor of ice, nor be found with skeletal/grim iconography on their clothing. If the character ever finds themselves forced to be in the possession of any of these, they will never be implemented to any skill, or will be so warped by the true vectors of the character that the deathly iconography is overshadowed almost absolutely. Characters are still allowed to kill, because violent conflict is an unavoidable fact for almost every system the character could manifest in, and nonlethal force is rare and rarer still to make sense on most character concepts save a select few vectors, but if they are to become efficient at killing specifically it will be treated as a deathly icon and thus be warped by their other vectors to mitigate this. This can lead to monsters of characters, mass murderers whose sole drive is to be the last one standing, their vitality obsession turned inwards to an extreme, recognizing no other life as worthy to live save their own. This manifestation usually coincides with extremely low intelligence.
 
2) Incremental Growth. The character will always have a vector of some sort driving them towards the bigger picture. They might be trying to start a revolution, maybe they want to discover the deeper cosmic secrets of the setting, or perhaps they just really want to punch God in the dick. This drive could be external as well, for perhaps the powers that be of the setting have been manipulating events to raise them to the next level, or perhaps an accident thrusts them to a greater perspective or state of being. It matters little how, but they will all always be moving towards operating at a grand scale, or otherwise be retired somewhere in the progression to this point. In a partially related point, "grace" is a disposable concept to the character. As the character is exclusively driven to increasing incremental scales, finer complexities and finesses like thin fast swords, filigree aesthetics, and fine tailored skills over raw ability are largely discarded unless good reason is given for the exploration of their use for a character.
    How the progression towards and beyond the meta of their setting will vary from character to character, but generally follows one of two paths. In their simplest descriptions, the first path is the path focused on what already exists, while the second disregards these in favor of what could be. Path number one is a path usually followed by the misotheists or apotheosists among the characters, who are focused on the divine either as opponents or future colleagues. They see the beings or forces that already rule and choose emulation or subversion of these, dragging with them the status quo by consequence of their actions, often despite the wishes of the majority. The other path, the path of disregard, is often more focused on some sort of generalized ideal or pursuit, maybe a moral or philosophical one. These tend to be the catalystic types, characters who are not particularly powerful in their own right, but instigate colossal change to their setting, perhaps even complete conversions, by virtue of their actions in progressing towards the greater meta. Maybe they are scientists raising the tech level to the point where the status quo is at the cosmic level, maybe they're monks that have forgone all regard for the worldly and seek to understand and operate on a level beyond the material or even the ethereal. Whatever form their travel to the meta takes, the fact that theirs is such a journey is universal across them, and they will follow their path to its unlimited extreme, or otherwise be retired somewhere in the progression towards this point.
 
3) Outsider. Bouncing between these ideas is a concept that manifests regarding the nature of the Tommy character and power. Within any one Tommy character, the concept of power is always an internal one, not an external one. Social clout is never a power used by any such character as the primary representation of their abilities. As such, if social ability is emphasized in a character, it is a byproduct, or consequence, of a different power they have, such as advanced intellect or an overwhelming soul. If ranged weaponry is used, it must always be an extension of an internal power manifest over distance. A gun or a crossbow manifests its destructive ability from power and forces outside of one's control, the borrowing of might, but the bow or the javelin are exclusively driven by the power of an individual, their personal internal power directed towards far away foes with the aid of the arrow or the javelin as a medium to deliver it. When it comes to energy weapons, they must be fonts of one's power, the shunting or venting of the energy within. A character made by Tommy does not summon a wave of fire from thin air, the flames erupt from within, they burst out as a visual representation of the character's fury and ability. Laser, sonic or electric weapons must be integrated into the bodies and limbs of the characters, and fueled by them, never truly separate or disposable. Were they to be separate, that would be the admittance of their power being borrowed, not truly a representation of one's own ability, and therefor not their power to use.
    This antagonism to the borrowing of unrightfully owned power is why traditional classes like clerics or warlocks will never have representation in the selection of Tommy characters. To be a puppet of an independent and aware force is unrepresentative of the Tommy character. While a druid can act as an embodiment of all the natural forces not wholly arcane as a counterpart to the wizard, a cleric or warlock cannot, as their very nature is to be a parasite to the power of beings greater than themselves. The Tommy character will always treat those that are greater than themselves as things to emulate, subvert, or disregard, but never to serve. This rejection of servitude manifests in their relationship with the establishment of their settings as well, usually placing them firmly in the realm of the Other, the alien, the pariah or the monstrous. It is almost certain that a character made by Tommy will be involved in the story to change the establishment, or to seek others to join it in leaving the establishment, and very rarely are they ever content to aid the establishment as it exists during their inception. This is not to say that it is impossible for such characters to exist, but in such cases they will likely see themselves outsiders working to the benefit of something they believe is good, but unwelcoming of them.
 
Section 2, Icons:
    Within the preferences of Tommy as a creator of characters there is a collection of ideals, assembled into an octohedron formed by the connection of three axes, each axis of which representing a pair of similar yet distinct concepts that represent what the character is to embody. The summary of the character's qualities will always have them fall on a face of the shape, somewhere between three connected points, and together these points can help elaborate the feel or nature of the character concept. These represent the character as they develop through the prime of the story they are a part of, they do not represent the origin of the character within their setting nor the far future of the character. Essentially these tell you who this character was, but not what they became, or where they came from. It should be noted, just because a character embodies one point on an axis does not mean they are prohibited from using the qualities of the opposite end, just that more qualities on one end represent them more accurately than the other. A brute can still ask questions and research, a spiritual healer can still use blood magic, and a fire mage can still shoot lightning, but one does not need to guess hard as to where on each questioned axis these characters actually rest.
 
X-axis, axis of power. This is the axis of the path the character follows, it is the "how" from how they grow.
 
The Savage Wildman.
Icon of physical power. It is a force of individual might, one that grows to break, or otherwise thrive in the face of, that which ails it. It is the power of legends, the true survivalist, bringing revolution or prosperity through feats of strength, endurance, or other primal forces.
Individualist, ancient, strong. Represents immortality inherent to one's own nature.
Holds the aesthetic of animals, heroes, and all primitive things.
It is as much a fur-clad warrior as it is a colossal predatory reptile.
Its colors are light and mid greys, dull and dark browns, weak bony yellows, and hints of bright saturated greens.
 
The Academic Wizard.
Icon of intellectual power. It is a force of power through epiphany, the attainment of power and abilities through understanding and application. It is the power of civilization, of ambition, bringing revolution or prosperity through innovation and the sharing of knowledge.
Collectivist, complex, smart. Represents immortality gained externally, via discovery or donation.
Holds the aesthetic of science, arcane arts, and machinery.
It is as much a globe-spanning supercomputer as it is a mad master alchemist.
Its colors are shiny black, flat dull blue, brownish gold trim, and all neon colors, mainly neon blue, purple, orange and yellow.
 
Y-axis, axis of life force. This is the axis of the source of the character's power, it is the "where" from where they draw upon.
 
The Biomancer.
Icon of life as an abstract force. It is a force represented by imaginary constants and ideals, the power of life through nature as a whole, the realm of the spiritual or the influence of celestial bodies. It is the power life has as an assumed inherent good, embodying willpower and heat, and kindness.
Warm, surrounding, calm. Represents spiritual immortality, transcended or uploaded.
Holds the aesthetic of plants, rocks, and spiritual light.
It is as much the forests in the hills as it is the sun in the sky.
Its colors are stony soft beige and browns, earthly and yellowish oranges, white, and deep greens.
 
The Blood God.
Icon of Life as a physical force. It is a force represented by practical objects and the reality of the flesh, monstrous and hostile within and without. It is the power of life as a real thing, of food and form and function, the limits of each and the violent struggle to meet or surpass those limits.
Brutal, invading, violent. Represents physical immortality, undying in form.
Holds the aesthetic of blood, the ancient ocean, and edged metal.
It is as much the knights crying havoc as it is the dark shapes moving in the water.
Its colors are dark deep reds, hot pinks, soft blacks, metallic greys, watery blues and magentas.
 
Z-axis, axis of identity. This is the axis of the drive of the character's actions, it is the "why" in why they do what they do.
 
The Phoenix.
Icon of furious personality. It is a force that hungers, that devours. It turns all it can into fuel for itself, even the ashes of its own demise fueling its next incarnation. It is the power that radiates outward, defiant of the forces that would constrain it and keep it small.
Consumer, recycler, undirected. Represents immortality through resurrection or reincarnation.
Holds the aesthetic of fire, explosions, and the dark of the night sky.
It is as much a fire giant as it is the nuclear weapons of judgement day.
Its colors are saturated oranges and reds, dark smokey greys, near black dark blues, and near white bright yellows.
 
The Monkey King.
Icon of prideful personality. It is a force that provides, that raises. It brings all to an even level with itself, and raises itself continuously above its last level. It is the power that rockets forwards, defiant of the forces that would see it halted or steer it somewhere undesired.
Generator, provider, direct. Represents immortality through unending lifespan, longevity.
Holds the aesthetic of lightning, clouds, and wind.
It is as much a lightning dragon as it is the breeze blowing through the bamboo.
Its colors are bright, soft greens, sharp royal and near-white purples, bright yellow golds, sky blues, tan and peach.
 
Section 3, Shapes:
    Within the preferences as Tommy as a creator of characters, there is a form, shape, or collection of physical characteristics and motifs that tend to find their way into each character if given enough time. Across all characters, these traits will tend to manifest either starting at the chest, face, or head equivalent, and expand out to incorporate more details from there. While most characters tend to not have any of these traits at the very start, it is unlikely that any of them will not have these traits manifest by the time they have managed to step onto the stage of the meta.
 
The Head.
    Generally speaking, it'll always start out with "the head", a collection of specific shapes attached to the physical head or a portion of the character meant to be face-like. There are four shapes associated with "The Head", rarely seen alone, but just as rarely seen all together.
-The Drill:
    The first is The Drill, a simple forwards pointing horn, originating anywhere from the tip of the nose to the crown. It carries with it the idea of a thrusting weapon, but also one of origin. It could be seen as the most practically oriented horn for combat on The Head, but it can also represent the tool by which the character first came to be, how the character first pierced its way into the story, and thus is sometimes represented not with a weapon, but a power supply, like a gem. This gets its name for the core drill of Gurren Lagann, with which it is meant to be synonymous in symbolism, as a representation of how that piece of media impacted Tommy and his philosophy.
-The Crown:
    The second is The Crown, a structure usually branching from the eyebrows and used to symbolize some sort of authority or imposing presence. In its most basic form, it is merely a pair of long backwards pointing horns starting from or composing the brow and sweeping back along the lines of the head. It can take alternate forms, ranging anywhere from a backwards-pointing singular crest that dominates the forehead, a pair of large antlers jutting out from behind the character's ears, to an actual, physical crown. The latter form will usually be tiara-like in nature, and never will it manifest in the form of an imperial crown.
-The Crescent:
    The third, and often the most representative despite its placement, is The Crescent. It is the default set of horns to embody the basic idea of The Head, and will be the most likely to appear first if only one set of horns is available. It can be described as a pair of thick, short horns that start at the temple, jutting out rather than forwards or back, which then curve towards the front of the face, their tips pointing to each other such that, when viewed from above, it appears as the shape of a crescent moon. Simply, they represent a reinforcement, the augmentation of a feature or ability, and rarely but not never do they represent a weapon. While the origin in the temple is the typical representation, they can manifest from any symmetrical region of the head, and do not always have to form a perfect crescent. Other forms can include the mandibles of a stag beetle, or the tusks of an elephant, but usually they are meant to exaggerate the features of the head as they already exist rather than stand out on their own. The tips, if unbroken, must always be pointing in a way that they would eventually intersect, and they can only ever be pointing away from each other if their shortness would result in them pointing directly forwards. They can never point up, but they can point directly down so long as they meet other criteria.
-The Mane:
    The fourth, last to be represented, is The Mane. The mane is an aspect to The Head which exists to project the nature of the character's power. It can be anything from an actual mane of fur, an eruption of fire, barbed spines, lightning, or even long plates which exaggerate whatever form The Crown manifests in. In the less monstrous, it usually takes the form of conventional hair, or as an aura that extends from the head. As the character grows in power, The Mane is the most subject to change, altering and warping with the growth of the character to better project the nature of their power. Its function is to speak to the growth of the character, it is the trail that follows behind them as flames and smoke do a rocket, describing to those around the character what exactly the character could be capable of.
 
The Body:
    Overall, incarnations of the Tommy character will either gradually start to change into, or suddenly assume, the shape of The Body. The Body is a term describing the vague impression of a semi-bipedal or semi-quadrupedal vertebrate animal with build and posture evocative of simian, feline, avian and saurian forms. Simplified into the description "the sauro-simian", the uniform characteristics of this shape are usually represented piece by piece, not unlike The Head, but generally speaking as Tommy characters progress in power they will slowly adopt all of these characteristics.
-The Torso:
    As characters Tommy makes adopt The Shape in the torso, a trend can be observed. The torso is defined as being a long tetrapod-oriented form, with a highly pronounced upper torso section, and narrower waist section and a hip segment somewhere between these in measurements, closer to the width and thickness of the waist than the upper torso. The neck is often mid to semi long in length, but never longer than half torso length, if present at all. If no proper neck is present, the upper torso segment tapers forwards to place the head of The Shape where it would normally be were a neck present, but where the head starts and the shoulder region begins is made indistinct, and likely covered by plating or by virtue of muscles from the upper torso subsuming neck space. The Torso is often hunched, with the upper back bulging out slightly taller than the shoulders are wide, and the arms situated closer to the front of the torso. The shoulders very rarely protrude, but the muscles on the shoulder blades often get emphasized to exaggerate the hunch, though the hunch can often be represented by any sort of bulk. If the shoulders are emphasized at all, or exceed the height of the actual head of the character, it is almost certainly in unison with other torso bulk to create the illusion of further mass above, as if their combined lines might lead to a head that isn't there. If the torso is to be upright, and unhunched in any way, the bulk of the back may be downplayed for upper torso width, but shoulder width is maintained to not protrude too far beyond the sweeping ovoid shared lines of the head, neck and back area. Lower torso is often neglected in design, generally as merely a means by which lower legs, tail, or otherwise remain attached to the torso. The lower torso usually remains lightly adorned, save for the more elaborate of designs. Overall, the torso is not unlike The Drill of The Head, a representation of the character's core and origin, and will likely be adorned appropriately, or grow to be so.
-The Face:
    As a Tommy character develops, their facial features will either already be, or begin to gain and discard features, until a certain collection of features is reached or evoked. Of these, the brows, the eye area, the cheekbones, the muzzle, the chin and the rear portion of the jaw become more emphasized, while the spaces between them tend to vanish as much as reasonably possible with given context of their assembly. Often the brows are excluded from this equation, though, as their bulk tends to become integrated into The Crown of the head, something of a segue from The Head to The Face of The Shape. The crown of the skull area is often completely unfactored in consideration, rarely not obscured entirely by the various other details of the face or the head. The slopes of the brows, the cheekbones, the aft end of the jaw and the chin usually work in unison to form a shape of rough rough symmetry, evoking a seven pronged star of blunted edges which cradles the inner facial features, the eye area and the muzzle. This relationship between the inner and outer facial features also characterizes that, usually, while the muzzle and eyes are emphasized or strongly implied, their scale is usually meant to be restrained or otherwise kept from enlarging. The Muzzle tends to adopt the bulk and roundness of either a primate or feline lacking a cartilaginous nose, but strong reptilian or avian overtones in the particular details tend to impose themselves on this. Often in the muzzle, nostrils and a physical mouth may become completely absent. Similarly, with the eye area, their presence tends to be emphasized or strongly implied without guarantee that actual physical eyes will be present, combining potentially with a nostrilless, mouthless muzzle and the particular orientation of the outer facial protrusions to give the illusion of where the face would be without necessarily needing to have one with communicable features. The relationship of The Face with teeth and eyes is often an all-or-nothing situation, their presence either becoming more represented to the point of dominating their platforms in the muzzle and eye areas respectively, or fading wholly to vanishing as other areas of The Face and Head encroach on their territory. It can be guaranteed that if a mouth is present, teeth will be on prominent display, and if eyes are present, they will come to act as secondary funnels of The Mane, venting properties essential to it in concept.
-The Arms:
    The arms as the appear on Tommy characters are symbolically the second most natural extension of their power beyond The Head, and thus are usually overemphasized. In regards to The Shape, the form these characters grow to assume, the arms will tend to become long is not already so, with the forearms ending up significantly longer than the upper arms. Like a gorilla's arms, if bulk develops on them it will be situated on the forearms more prominently than the upper arms, to extremes that sometimes get represented as the forearms connected to the torso by thin stilts or wholly detached and hovering. The focus of the arms, the hands, though likely lightly decorated, will just as likely be oversized, sometimes comically so. Perhaps in some relation to the cortical homunculus, the forearms and hands as a single whole object, however detailed, always seem to take precedence over the upper arm and shoulder assembly. Similarly, if mutable proportions are not as viable, and something resembling regular human confines is required to be observed but armoring allowed, it is the forearms that become armored first, then the shoulders, then the upper arms. These forearm-hand assemblies symbolize the tools with which the Tommy character does work. They are monoliths which act as the mobile pillars heralding whatever achievements will soon follow as befitting of the character. It should be noted, however, that The Arms are never bound to only two, and not explicitly bound to symmetry. At least, not explicitly, for usually in the cases of explicit physical asymmetry a sort of implicit conceptual symmetry will be present, like one arm on one side and two on the other, or a pair of arms which while equipped differently cast a vaguely similar silhouette. With increasing power, increasing number of arms is not uncommon, perhaps riffing on Hindu and Buddhist concepts of divinity, though this may not be a known rule or fact, just an observed phenomena. As the Tommy character develops, however, function tends to give way to form as specialization of limbs becomes less explicitly necessary, and symmetry or its phantom almost always returns to the whole. As an additional observation, it is true that the very few winged incarnations of the Tommy character dent to not have their wings sprout from behind, but rather emerge as an extension of the forearm, another detail adding to their bulk rather than being represented by their own limbs. Some incarnations may appear at first to contradict this, with large back mounted wings and small forward facing arms, but upon stepping back to see the whole the nature of the four plus limbs becomes evident, with the larger wings being the legitimate true "arms" of the Tommy character, and the smaller limbs nothing more than decoration or devices.
-The Legs:
    The Legs are the ground the Tommy character stands upon. They are often the most disposable aspect of the powerful iterations of the Tommy character, but sometimes the most descriptive of the power of the lesser Tommy characters. These are aspects almost wholly dedicated to needs of the form and exaggeration of its other aspects, the practical counterpart to the stylistic aspect to follow, The Regalia. Most often is the form represented with digitigrade saurian or mammalian limbs, thicker at each end but thinner at the middle, yet sometimes the lime may be supplanted for more trunk-like limbs evocative of elephants or quadrupedal dinosaurs. Perhaps this evokes some mirror to the Arms, wide at each end, but thin towards the center, the upper width seemingly absent from the arms maybe instead represented by the bulk of the upper torso. They give grounding to the character, and their symbolism is just as important with their presence as it is without, often showing a being which has transcended the need to prop itself up with the strength of its body alone. It is not uncommon for the rare winged Tommy character to also not have any legs, instead donating their function to The Arms, which act to prop up the character. It is rare for The Legs to have traditionally sharp nails, and far more common to instead feature wide blunt toes, either wholly without digits and emerging from the flat stump of the limb-end, or attached to simple digits of few segments, obviously designed for balance and manipulation. Clawed theropod or avian toes are much rarer here than one would expect, instead something seemingly more herbivorous hooves, insectoid digits or outright alien toes are better represented here, and more often than not assembled with thicker, tougher materials like leathery hide, bony plates, wood or outright stone and metal. Ideally, a sort of four digit hand of two thumbs and two fingers does tend to manifest in the feet of The Leg, but rarely does to do so at base. These limbs could be seen as the propelling force, not unlike The Drill of The Head, but almost opposite in magnitude of importance, meant to show where the character is coming from, and what keeps them going. Symbolically, if a Tommy character is cloaked to the point that its feet cannot be seen, for whatever reason, it is tied to the narrative and personality of the character, suggesting that it does not want its propelling nature visible, or desires its origin obscured. Very rarely it has been observed in digitigrade manifestations that a branching from the ankle into a forked foot is possible, but the opportunities to explore the potential for this form of the Legs to manifest have been themselves very rare, and so have not been examined deeply. Almost never to four legs, or otherwise a centaur-like shape manifest, diverging from an individual pair of hind legs will usually result in a many-legged serpent-like form long before it is forced to settle into a four or six-legged centaur form, though the exact reason why eludes Tommy. Bipeds, Quadrupeds or Myriapods, but never Centaurs, and unlikely mundane Hexapods.
-The Regalia:
    The Regalia is to The Body as The Mane is to The Head, and act as the stylistic symbol to The Legs' practical symbol. Decorating the neck, the forearms, the upper torso, the waist, the thighs, the feet and the tail, or which ever of these is present, The Regalia is a uniform set of traits coating The Body that act to describe to those that view exactly what the history and capabilities of the character could be. Details will often surround the head/neck and sweep over the shoulders, often acting double as chest detail and shoulder decoration if such words can describe their form. Another manifestation often runs down the neck and spine, and often the shapes from the chest and shoulder will sweep into these back decorations. From the shoulder plates, down to the lower rear ribs, some form of protrusion is generally expected, almost always sweeping upwards, opposite in direction to that which the spine runs, bending inwards towards the spine, or directly outwards unbent. Rarely if ever do the protrusions sweep  or bend outwards, away from the spine, the most outwards they reach being from a base angle outward, which then sweeps inwards. On the arms, thighs, feet and tail the regalia manifests in obvious ways, like armor, fur, elemental designs or other forms of energy. The colors and details that fill the outline. Often, The Regalia will come with a skirt of some kind. The exact nature of it varies, but something that drapes, shields, or otherwise obscures a portion of the legs which begins at the waist or hip section is usually present. Maybe it is fins, maybe baggy pants and a waistcloth, maybe it is the tails of a trench coat, but it will usually take some form alluding to this shared shape. Some shared imagery to the fanning out at the ends of the Arms can be drawn here with this manifestation, and the loose imagery of a third "Arm", from which the lower body becomes the hand of, could be drawn. Across the shapes of the regalia centered around the bulk of the body, V-shapes are very common, perhaps to evoke the ideas of a sweeping outward of form, or an expansion from origin.
-The Tail:
    The Last, and most likely to be omitted, piece of the shape is The Tail. The Tail when manifesting in the truest incarnation of The Shape of the Tommy character will be a long, strange tail. It will often start reptilian in bulk and shape, usually very thick, but as it progresses the nature f its design becomes more prehensile, thinning, before near the tip swelling out slightly. The specifics of how it swells or blooms out at the tip is essentially to act as a billboard for the regalia, creating a platform for which one can get an idea of the character's power. It could bloom into bony clubs, like an ankylosaur, or a feathered display, or perhaps it fans out only into fire, but if the tail is present it will almost never not fan out at the end. This portion of The Shape is the portion that represents most often the weapon, and so if the Arms were kin to the Drill, the Tail is as kin to the Crescent. Often it will manifest on humanoid characters as a tool rather than a physical tail, just as often it will form as a physical tail on nonhumanoids in place of a weapon proper. In its weapon form, the handle will be medium to long, and the tip section will always be wider than the base, usually resulting in weapons manifesting in polearm or sword form, though sometimes in axe and club. A hammer is rarer, but not absent from the forms taken, though more often than not the hammer portion is a part of some dual-function weapon, the reverse side usually being an axe. Together these shapes and traits have a recurring theme, that of a large and long weapon, with a bladed furthest section or tip, a heavy weight of some size directly beneath this to some extent in orientation, and then a fair sized portion of weapon length before reaching the handle proper, which is built to facilitate two hands holding it farther apart. Again, in both the physical tail and weapon manifestations of the Tail, the fanning out from a narrow segment is a recurring shape, as seen with the Arms, the Regalia, and to a minor extent with the Legs in their digitigrade forms and the way the torso bulk is distributed. Because of this, the fanning-out shape may be a definitively descriptive trait to all aspects of The Shape as a whole, and perhaps to The Head as well, if one examines the shared outlines of each horn pair. Very rarely to nearly always absent is any form of pommel, the handle often just terminating with a bit more width to catch sliding hands, though if a pommel is present it is usually another smaller blade. Almost never do the weapon forms of the Tail ever manifest in the form of an exclusively piercing weapon, always a slashing or a blunt weapon. The symbolism of the Tail is to evoke the ideas of the destruction the character is capable of, an icon of their combat ability and the tool with which they fight their foes. If the Tail is not present in any form, it is because this function, the weaponized ability, has been subsumed by one of the other aspects of the body (usually if not always the Arms). This property to the Tail works in reverse as well, being able to manifest multiple times in completely unrelated forms, for a character that has a physical tail representing The Tail proper may also wield a weapon doing so as well. As with the Arms manifesting multiple times, this usually describes a character of higher power than the standard, whose description cannot be contained within a single manifestation.