Difference between revisions of "Hoid"

While he is very comforting to those he likes, and can sometimes be open about some parts of his past; he does make sure to insure that they never come to trust him too much, and that thethey understand what kind of person he is.{{book ref|sa2|67}}{{book ref|sa3|68}}

He believes that the main thing that people value in creation is not the creaturecreation itself, but the novelty, timeliness, and originality of it. Observing that if two people make the same discovery independently, the one who reveals their discovery first is the one given credit and lauded for their innovation, while the second is considered a forger. That if two artists create similar works of comparable pulchritude independent of each other, one would be lauded and the other would be bemoaned as derivative. He claims that if it was truly a matter of the aesthetic beauty of a work, butit ratherwould not matter which came first. From this, he claims that the idea that what is valued most is creative ability, wisdom, and invention to be nothing more than a lie that humanity tells itself. He admits that it is a rather cynical viewpoint, but holds to it regardless.{{book ref|sa1|epilogue}}

He believes that all great art is necessarily hated by some due to the variety in human tastes,. that toTo make it so nobody would hate a work of art, one must remove everything that makes it special, therefore making it so that it is loved by nobody. Being hated is not proof that art is great, but not being hated is proof that it is not.{{book ref|sa3|epilogue}} He believes that art is about emotion, examination and going places people have never gone before to discover and investigate new things; it is from this definition of art, and his recognition of the subjective nature of aesthetic taste, that he argues that all great art is necessarily hated by somebody.{{book ref|sa3|epilogue}} When questioning himself on how many people need to love a work of art to outweigh the hate it inevitably inspires, and balance out the risk. Thus, if even one person loves a work, no matter how many people hate it, it is worthwhile.{{book ref|sa3|epilogue}}

Hoid has also gained access to Allomancy,{{wob ref|4877}} by burning a bead of lerasium stolen from the Well of Ascension.{{msh ref|2|1}}{{wob ref|1515}}{{wob ref|12210}} This grants him power equivalent to that of the ancient Allomancers.{{epigraph ref|mb3|22}} It is uncertain how practiced he is with these powers, but he does make use of emotional Allomancy{{wob ref|6933}} on at least one occasion.{{book ref|sa2|45}} He also has access to [[atium]].{{wob ref|465}} It is unknown whether or not Hoid has access to [[Feruchemy]].{{wob ref|466}} However, he does have access to some unkeyed metalminds,{{wob ref|1571}} which would not be useful to him without Feruchemical abilities or unsealed metalminds. The particular attributes that are stored in these metalminds are unknown. Hoid does not make use of Hemalurgy, to gain access to the Metallic Arts or any other manifestation of Investiture, as he is concerned about opening himself up to the influence of Shards.{{wob ref|656}} He does, however, own many Hemalurgic spikes.{{wob ref|15271}}{{wob ref|16280}}

At some point after the Shattering, Hoid visited Roshar and mingled with the original inhabitants of the world, even dancing with the ancient [[singer]]s. He grew to be close with one Singersinger known as [[Vatwha]].{{book ref|sa3|epilogue}}

Several centuries later,{{wob ref|14099}} around Nalthian[[Hallandren]] year 327,{{file ref|T-Telir.png|Map of T'Telir}} Hoid traveled to [[Nalthis]] and took the role of a master storyteller. [[Lightsong]] summoned him to the [[Court of the Gods]], where he recounted the story of [[Vo]], explained the origin of the [[Hallandren]] God Kings, and answered Lightsong and [[Siri]]'s questions.{{book ref|wb|32}} He likely achieved perfect pitch while on this world by obtaining additional Breaths.{{book ref|wb|52}}{{book ref|sa2|59}}{{book ref|sa4|epilogue}} At some later point, [[Vivenna]] also met Hoid; she later described him as one of the only people on Nalthis that is cosmere-aware.

He met [[Lift]] at some point after her blessing by the [[Nightwatcher]] in {{Rosharan date|1170}}, but before her heist on the [[Bronze Palace]] in {{rosharan date|1173}}.{{wob ref|5016}}{{citebook ref|sa2.5|12}} She was fond of him, and they parted ways when he jumped into the mouth of a [[greatshell]].{{book ref|sa2.5|12}}{{book ref|sa2|epilogue}}

Hoid would later go on to visit the planet of [[Lumar]],{{book ref|tress|4}}{{ref|group=fn|text=It can be assumed that this takes place after the events of other Cosmere books due to the references to and appearence of very advanced technology, relative to what has been seen before. Examples include computers,{{book ref|tress|64}}{{book ref|tress|60}} monitoring systems,{{book ref|tress|60}} extremely advanced Nalthian tech such as Awakened predictive circuits,{{book ref|tress|15}} spaceships,{{book ref|tress|60}} and rockets.{{book ref|tress|64}} Along with the release of the Kandra across the cosmere;{{book ref|tress|42}} and awareness of Marsh spreading across the Cosmere,{{book ref|tress|53}} which began late into the anteverdant era of Scadrial.{{book ref|mb7|part=ars}}}} aHowever, relativeit backwateris innot theknown cosmere.{{bookwhen ref|tress|42}}it Attakes someplace pointrelative heto informed[[Yumi his friend,and the [[kandraNightmare Painter]], [[UlaamThe Sunlit Man]], of his intentions to visit the planet via letter.{{book ref|tress|22}} Still hoping to gain access to AonDor, he met withor [[Riina]], who was living on the planet in the guise the SorceressSixth of the Midnight Sea.{{book ref|tress|22}} While visiting her island, Hoid agreed to a bet with her. Riina would be allowed to place him under a curseDusk]], and in exchange, if he could successfully break it, he would be granted admission to the Elantrians and the ability to use AonDor. The curse placed on him stripped himplacement of histhis sensesection ofis humor,non-canonical senseuntil offurther style, senseconfirmation of decorum,its sensechronological of purpose, intelligence, and sense of selfplacement.{{book ref|tress|15}} Ina orderrelative tobackwater breakin the curse, he would need to return to the central room of the Sorceress' ship on her islandcosmere.{{book ref|tress|6442}} As a part of the curse, he was also forbidden from telling anyone any information about his curse, how he had been given it, or how it could be broken. Riina finished her casting by sending Hoid far away from the Midnight Sea. During his time here, he likely came into possession of some Midnight spores.{{book ref|tress|28}}

At some point after Sigzil's overthrowing of the [[Cinder King]]{{ref|group=fn|text=It has been confirmed that the events of Yumi and the Nightmare Painter take place after the events of The Sunlit Man by an unclear margin of time.{{wob ref|16524}}}}, heHoid went with [[Design]] to [[Komashi]] and was almost instantly frozen in place, unable to move. This was due to the protection measures that he instituted to prevent other entities from interfering with his Investiture after recovering from [[Odium]]'s destruction of his breaths.{{book ref|sa4|epilogue}} It activated as, immediately upon his arrival, the [[father machine]] attempted to absorb his Investiture to power itself.{{book ref|Yumi|part=anotherepilogue}} Seeing his state, Design spraypainted him copper and used him as a coatrack in her new noodle shop, the [[Noodle Pupil]]. At some point following his stasis, he formed a Connection with [[Nikaro|Painter]], [[Yumi]], and [[Liyun]] allowing him to tell what they were doing, feeling, and thinking, along with many others on the planet, though he felt it with them particularly acutely, and knew it had something to do with him.{{book ref|yumi|5}}{{book ref|yumi|39}}

:Hoid dislikes Sadeas, insulting him at any chance he gets. Though at first he tries to get Sadeas to attempt to kill him in order to remove the man as a threat, he makes fun of Sadeas after his death just for the fun of it.{{book ref|sa1|15}}{{book ref|sa3|68}}{{cite}}