Omega Gene Level:
A lawful evil villain methodically takes what he wants within the limits of his code of conduct without regard for whom it hurts. He cares about tradition, loyalty, and order but not about freedom, dignity, or life. He plays by the rules but without mercy or compassion. He is comfortable in a hierarchy and would like to rule, but is willing to serve. He condemns others not according to their actions but according to race, religion, homeland, or social rank. He is loath to break laws or promises.
This reluctance comes partly from his nature and partly because he depends on order to protect himself from those who oppose him on moral grounds. Some lawful evil villains have particular taboos, such as not killing in cold blood (but having underlings do it) or not letting children come to harm (if it can be helped). They imagine that these compunctions put them above unprincipled villains.
Some lawful evil people and creatures commit themselves to evil with a zeal like that of a crusader committed to good. Beyond being willing to hurt others for their own ends, they take pleasure in spreading evil as an end unto itself. They may also see doing evil as part of a duty to an evil deity or master. Lawful evil is sometimes called "diabolical," because devils are the epitome of lawful evil. Lawful evil creatures consider their alignment to be the best because it combines honor with a dedicated self-interest. Lawful evil is the most dangerous alignment because it represents methodical, intentional, and frequently successful evil.
Base Style: ( Tai Chi)
Flow of battle: ( Dou )
HAND TO HAND COMBAT:Edit
Hand-to-hand combat (sometimes abbreviated as HTH or H2H) is a lethal or non-lethal physical confrontation between two or more persons at very short range (grappling distance) that does not involve the use of firearms or other distance weapons. While the phrase "hand-to-hand" appears to refer to unarmed combat, the term is generic and may include use of striking weapons used at grappling distance such as knives, sticks, batons, or improvised weapons such as entrenching tools.While the term hand-to-hand combat originally referred principally to engagements by military personnel on the battlefield, it can also refer to any personal physical engagement by two or more combatants, including police officers and civilians. Combat within close quarters (to a range just beyond grappling distance) is commonly termed close combat or close-quarters combat. It may include lethal and non-lethal weapons and methods depending upon the restrictions imposed by civilian law, military rules of engagement, or ethical codes. Close combat using firearms or other distance weapons by military combatants at the tactical level is modernly referred to as close quarter battle.
Chángquán (simplified Chinese: 长拳; traditional Chinese: 長拳; pinyin: Zhǎngquán; literally: "Long Fist") refers to a family of external (as opposed to internal) martial arts (kung fu) styles from northern China. The forms of the Long Fist style emphasize fully extended kicks and striking techniques, and by appearance would be considered a long-range fighting system. In some Long Fist styles the motto is that "the best defense is a strong offense," in which case the practitioner launches a preemptive attack so aggressive that the opponent doesn't have the opportunity to attack. Others emphasize defense over offense, noting that nearly all techniques in Long Fist forms are counters to attacks. Long Fist uses large, extended, circular movements to improve overall body mobility in the muscles, tendons, and joints. Advanced Long Fist techniques include qin na joint-locking techniques and shuai jiao throws and takedowns. The Long Fist style is considered to contain a good balance of hand and foot techniques, but in particular it is renowned for its impressive acrobatic kicks. In demonstration events, Long Fist techniques are most popular and memorable for their whirling, running, leaping, and acrobatics. Contemporary changquan moves are difficult to perform, requiring great flexibility and athleticism comparable to that of gymnastics. The traditional Long Fist had a very small amount of techniques that were learned quickly once one had mastered the three common Long Fist stances of Horse, Dragon and Snake. With the Winding Roundhouse Punch, Meteor Fist Punch, Long Uppercutting Punch, Reverse Fist Punch and the Twin Gorilla Punch all the hand techniques were covered. Adding the Winding or Whirling Roundhouse Kick the original style was complete. The only variation on this allowed Long Fist practitioners to also strike with their fore-arm and shins, not just feet and fists, though still using the same techniques and movements. There are no blocks in Long Fist, although the execution of Long Fist techniques allowed the 'brushing' aside of attacks whilst delivering the powerful techniques.
Aikido is a Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy, and religious beliefs. Aikido is often translated as "the Way of unifying (with) life energy" or as "the Way of harmonious spirit." He creates an art that practitioners could use to defend themselves while also protecting their attacker from injury. Aikido is performed by blending with the motion of the attacker and redirecting the force of the attack rather than opposing it head-on. This requires very little physical strength, as the aikidoka (aikido practitioner) "leads" the attacker's momentum using entering and turning movements. The techniques are completed with various throws or joint locks. Aiki-jujitsu can be broken into three styles: jujitsu (hard); aiki no jutsu (soft); and the combined aikijujitsu (hard/soft). Modern Japanese jujitsu and aikido both originated in aiki jujitsu, which emphasizes "an early neutralization of an attack." Like other forms of jujitsu, it emphasizes throwing techniques and joint manipulations to effectively subdue or injure an attacker. Of particular importance is the timing of a defensive technique either to blend or to neutralize an attack's effectiveness and to use the force of the attacker's movement against him. Daito-ryu is characterized by ample use of atemi, or the striking of vital areas, to set up joint-locking or throwing tactics. Some of the art's striking methods employ the swinging of the outstretched arms to create power and to hit with the fists at deceptive angles, as may be observed in techniques such as the atemi that sets up gyaku ude-dori (reverse elbow lock). Yami regarded one of the unique characteristics of the art to be its preference for controlling a downed attacker's joints with one's knee to leave one's hands free to access weapons or to deal with the threat of other attackers.
(柔術:じゅうじゅつ jūjutsu?), literally translates to "Soft Skills". However, more accurately, it means the art of using indirect force, such as joint locks or throwing techniques, to defeat an opponent, as opposed to direct force such as a punch or a kick. This is not to imply that jujutsu does not teach or employ strikes, but rather that the art's aim is the ability to use an attacker's force against him or her, and counter-attack where they are weakest or least defended.
Methods of combat included striking (kicking, punching), throwing (body throws, joint-lock throws, unbalance throws), restraining (pinning, strangulating, grappling, wrestling) and weaponry. Defensive tactics included blocking, evading, off balancing, blending and escaping. Minor weapons such as the tantō (dagger), ryufundo kusari (weighted chain), jutte (helmet smasher), and kakushi buki (secret or disguised weapons) were almost always included in koryū jujutsu.
Most of these were battlefield-based systems to be practiced as companion arts to the more common and vital weapon systems. At the time, these fighting arts went by many different names, including kogusoku, yawara, kumiuchi, and hakuda. In reality, these grappling systems were not really unarmed systems of combat, but are more accurately described as means whereby an unarmed or lightly armed warrior could defeat a heavily armed and armored enemy on the battlefield. Ideally, the samurai would be armed and would not need to rely on such techniques.
In later times, other koryū developed into systems more familiar to the practitioners of the jujutsu commonly seen today. These systems are generally designed to deal with opponents neither wearing armor nor in a battlefield environment. For this reason, they include extensive use of atemi waza (vital-striking technique). These tactics would be of little use against an armored opponent on a battlefield. They would, however, be quite valuable to anyone confronting an enemy or opponent during peacetime dressed in normal street attire. Occasionally, inconspicuous weapons such as knives or tessen (iron fans) were included in the curriculum.
Today, jujutsu is practiced in many forms, both ancient and modern. Various methods of jujutsu have been incorporated or synthesized into judo and aikido, as well as being exported throughout the world and transformed into sport wrestling systems, adopted in whole or part by schools of karate or other unrelated martial arts, still practiced as they were centuries ago, or all of the above.
Tian family's Yin Yang Bagua Zhang is one of three main Bagua Zhang systems in China. It integrates the crane-walking and roc-spanning powers, the soft and hard, uplifting，elegant, impressive and graceful styles. Tian family's Yin Yang Bagua Zhang is the martial arts styled as twisting, spanning, sitting and lifting. This style integrates offense with defense and combines the internal with the external. The origin of this style occurred when the Chinese ancestors combined the "Book of Changes"(《易经》） with the Yin Yang truth. Following the Eight Trigrams, they observed the actions of animals and environmental changes. Tian family's Yin Yang Bagua Zhang was created from these observations being studied and practiced over several generation. The practice routines is divided into eight forms: Python, Lion, Tiger, Bear, Snake, Horse, Monkey and Eagle. "Ba" means eight, "Gua" means form, and "Zhang" means palm. One "Zhang" palm is divided into eight postures. Each posture is divided into three different "Cheng" movements. The total is one hundred and ninety-two Chengs. Each Gua is clearly distinctive. The style of Tian family's Yin Yang Bagua Zhang is integrated with the soft and the hard, powerful and majestic -- transmitting China's exquisite traditional culture. Tian family's Yin Yang Bagua Zhang took the meaning of Yin Yang and the Eight Trigrams and applied it to the theories and principles of the palms. The actions of the Yin Yang Bagua Zhang eight forms routine involve the practitioners adjusting the upper, middle and lower sections of their body. The Eight Trigrams are eight different symbols: Qian (乾）, Kan (坎）, Gen （艮）, Zhen （震）, Xun （巽）, Li （离）, Kun （坤）, and Dui （兑） which correspond to and form the changing ways of the Yin and Yang and the Bagua. The postures of crane walking and eagle spanning also correspond to the eight directions: East, West, South, North, Northeast, Northwest, Southeast and Southwest of the Yin and Yang and the Eight Trigrams. The movements also mimic the arc in the Yin Yang Fish. There are eight characters, eight directions, eight body sections, eight steps, eight posture palms, eight energies and eight coincidences.
The Python Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Python writhing through the forest"
- "Python bending, ground stomping",
- "Python grabbing, crossing and piercing",
- "Python wandering, crossing with a single arm"
- "Python bending, crossing with a crooked arm"
- "Python writhing and piercing"
- "Python cleaving, spanning and lashing"
- "Python writhing, rocking, bending and crossing"
Each posture has 3 Chengs and total is 24 Chengs. The Python Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Python Form Palms: turning waist and spanning arms, integrated with the soft and the hard. It is like a python coming out of a hole and writhing through the forest.
The Lion Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Lion turning, spanning and cleaving"
- "Lion turning, grazing and seizing"
- "Lion turning, spanning and parrying"
- "Lion turning, grazing and slicing"
- "Lion turning, cleaving and flicking"
- "Lion turning, reeling and flicking",
- "Lion turning, cloud-reeling and ramming"
- "Lion turning, reeling and slicing"
Each posture has 3 Chengs and total is 24 Chengs. The Lion Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Lion Form Palms: the movements are smooth, dynamic, powerful. It is like a lion playing with a ball, and intimidation.
The Tiger Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Tiger swaying, body-rocking, pulling and pouncing"
- "Tiger bending, turning, striking, hooking, hanging"
- "Tiger pouncing, draping, shaking and sending"
- "Tiger sitting, suppressing, striking, spanning and bending"
- "Tiger ramming, sweeping, stomping, swinging and spanning"
- "Tiger carrying, turning, bending and body turning"
- "Tiger lashing, spanning, bending and horizontal sweeping"
- "Tiger crossing, raising and body swinging"
Each posture has 3 Chengs and the total is 24 Chengs. The Tiger Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Tiger Form Palms: the movements are powerful and mighty. It is like a hungry tiger preying and smashing.
The Bear Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Bear backing, choking and reaching"
- "Bear backing, spanning, bending and striking"
- "Bear backing, spanning, covering and ground stomping"
- "Bear backing, rocking and striking"
- "Bear backing, spanning, cleaving and striking"
- "Bear backing, swaying and striking"
- "Bear backing, body swinging and striking"
- "Bear backing, turning, ramming and striking"
Each posture has 3 Chengs and the total is 24 Chengs. The bear form palms routine is divided into two parts and each part includes four postures. The characteristics of the Bear Form Palms: turning its waist and bending its back, having bold and vigorous power. It is like a black bear flexing back, rolling, and pouncing.
The Snake Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Snake bending, arm swaying, crossing and piercing"
- "Snake thrusting, arm flipping and body turning"
- "Snake drilling, arm turning and body swinging"
- "Snake reeling, arm swinging, spanning and bending"
- "Snake coiling, twisting, spanning and sitting"
- "Snake flicking, rocking, turning and bending"
- "Snake lashing, flicking, wrapping and spanning"
- "Snake wandering, spanning, reeling and body roving"
Each posture has 3 Chengs and the total is 24 Chengs. The Snake Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Snake Form Palms: coiling and drilling power, mixing the hard and the soft. The movements are like a snake wandering and darting fangs.
The Horse Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Horse walking, slicing and raising"
- "Horse sweeping and body swinging"
- "Horse ramming, turning and bending"
- "Horse bending and hooking"
- "Horse neighing, push kicking and stomping"
- "Horse digging and body roving"
- "Horse bucking, raising and hitting"
- "Horse rushing, charging and stomping".
Each posture has 3 Chengs and the total is 24 Chengs. The Horse Form Palms routine is divided into two parts and each part includes four postures.The characteristics of the horse form palms: the movements are bold and uninhibited, like a wild horse bucking and rushing.
The Monkey Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Monkey picking fruits"
- "Monkey presenting fruits"
- "Monkey guarding fruits"
- "Monkey playing with fruits"
- "Monkey showing palms"
- "Monkey showing arms"
- "Monkey stepping on branch"
- "Monkey circling palms"
Each posture has 3 Chengs and the total is 24 Chengs. The Monkey Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Monkey Form Palms: the movements are nimble and it has adorable looks. It is like a monkey playing and guarding its catch.
The Eagle Form Palms of Tian's family Yin Yang Bagua Zhang consists of eight postures:
- "Eagle slicing, wing spreading and launching"
- "Eagle spanning, bending, turning, pressing and covering"
- "Eagle stretching, spanning, reeling, bending and turning"
- "Eagle retracting, arm stretching and hooking"
- "Eagle bucking, spanning, turning and body roving"
- "Eagle spanning, twisting, turning and body roving"
- "Eagle slapping, arm swinging, push kicking and stomping"
- "Eagle turning, swinging, spanning and body turning"
Each posture has 3 Chengs and the total is 24 Chengs. The Eagle Form Palms routine is divided into two parts and each part includes four postures. The characteristics of the Eagle Form Palms: the movements are open and natural. It has the vigor to combat the elements and disdaining the firmament, and has the spirit of soaring the sky and spanning in the empyrean.
Chi Base (Optional)Edit
Destruction: Destruction chi deals with external chi release that allows the chi practioner to fully utlize the art of destroying or disrupting matter with their chi. This equats to hitting structures of large sizes and taking them down, blowing down walls with a single kick, and if proper outside ignition is used, casuing explosive and devestating forces to spread outwards for a wider range of effect. This is flexible, as it can be shrunken and applied martialy, allowing a skinny person of frail stature to one shot a heavyweight wrestler with one chop. This method of chi manipulation is effective but the most tiring of the five, often requiring high reserves of chi, and draining even more so than that.
The Satsui no Hadou (殺意の波動, Satsui no Hadou, literally "Surge of Murderous Intent"), also known as theDark Hadou (ダーク ハドウ, Daaku Hadou, Dark Surge), is a type of chaos energy and a demonic force.
Satsui no Hadou is a form of Ki that emanates greatly from oneself through the darker aspects of natural human instinct and the desire to survive, to trample, and impose over opposition, and on a metaphysical level, the natural occurrence and manifestation of loss, decline, and destruction.
To tap into the ki of the Satsui no Hadou, a fighter must be so consumed with the desire to win or have such an intense rage, that they are willing to kill. Only people who push themselves to be the best at all costs, can take full advantage of it. So even with a high level in combat, there would still be much to be done.
For those who do succeed in controlling it, they develop a cold, cynical detachment from themselves, as well as others. As such, Satsui no Hadou makes a person unbelievably strong, but at the cost of one's humanity and compassion, making them emotionless almost or almost insane if decided to let it consume them.
Another side-effect of this power is that when a warrior embraces the Satsui no Hadou to their fullest extent, they will gain a lust to fight to the death, their eyes will turn white or red, and their beliefs in fighting become very dark and cold-blooded. The warrior's personality will also change and become very violent and dark. However, as shown in the case of Goutetsu, if one embraces it to a small degree, their eye's pupils will become blue, and they will have no willingness to destroy anything or anyone.
Once a warrior has awoken the Satsui no Hadou within them, it can be very hard to resist. Learning Satsui no Hadou is the first step in learning the most fatal technique known to all of their martial arts, meaning everyone has a general knowledge but only when they train and master the martial arts can they fully use it. If one has used it to their fullest extent for too long throughout years of their life, they will transform into a demonic being, likely one similar to Oni.
Weapon of ChoiceEdit
Abilities - LimitationsEdit
- Dark Beam Emission
- Dark Bolt Projection
- Dark Pillar Projection
- Darkness Blast
- Darkness Bomb Generation
- Darkness Bullet Projection
- Darkness Cutting
- Darkness Infusion
- Darkness Slash
- Darkness Spike Projection
- Darkness Vortex Creation
- Darkness Wave Emission
- Expanding Darkness Bolts
- Formulated Darkness Blasts
- Hand Blasts
- Missile Generation
- Omnidirectional Darkness Waves
- Reflective Attacks
- Scatter Shot
- Shadow Ball Projection
- Shadow Breath
- Sword Beam Emission
- Wave Motion Blast
User has excellent night vision, the ability to see in low light conditions or even total darkness. Whether by biological or technological means, night vision is made possible by a combination of two approaches: sufficient spectral range, and sufficient intensity range.
- May be sensitive to sudden flashes or bright light.
- Might take some time for the eyes to re-adapt to regular light
- May not be able to see in complete darkness.
- Darkness Manipulation
- Dark Portal Creation/Umbrageous Teleportation using darkness/shadow by understanding the fundamental connection all shadows/darkness share.
- Dimensional Storage to store stuff into darkness/shadow, user may be able to enter their own pocket dimension.
- When the user realizes from where they draw their power, they can enter there and summonbeings/tools from there.
- Darkness Aura
- Darkness Empowerment
- Darkness Healing
- Shadow Mimicry
- Shadow Mutilation
- Shadow Stealth
- Umbrakinetic Combat
- Umbrakinetic Regeneration
( Appearance for the first Five Gates )
( Sixth Gate Appearance )
( Seventh Gate Appearance )
The Kyukimon Armor corresponds with the Dark Form of Yami's other half's, Usagi Shiro, Inner Eight Gates. Kyukimon Armor has the durability to remain intact to the FIFTH as Yami goes through the Nine Demon Gates of Hell, but of course, once reaching the seventh gate, the Kyukimon Armor AND Yami's physical appearance change into that of said "demon", hence the Nine Demon Gates.
- The Gate of Death, Shimon, can be opened after removing the restraints on the brain, allowing 100% Muscle Usage.
- The Gate of Crossing, Kosaten, can be opened by striking the center of her forehead, replenishes the body and increases the user's physical strength.
- The Gate of Change, Henko, can be opened by striking the throat forces the blood flow to increase, making the skin tone grow paler.
- The Gate of Pain, Itami, can be opened by striking both wrists, causing intense pain for the user at first due to the tearing of muscles all while increasing both speed and power and the user's ears would grow into a Killian's type.
- The Gate of Flames, Hono, by striking the lungs, the gate is allowed more air, expanding the lung capacity to four times it's normal size, and a burning sensation would start along the area of the ribs, after all, having to expand, with possible tearing of the skin. as it begins to burn away at her clothes.
- The Gate of Underworld, Jigoku, by striking the abdomen, a low chi pulse starts to expel from the body as does tendrils of darkness, swirling around her body as it begins to form a new set of armor from the underworld, taking blood from the body as payment, causing the skin to grow paler but the body is in a complete state of rest for 30 seconds as her hair grows darker and her skin is that of porcelain and her eyes turn into a gold color, resembling her father's.
- The Gate of Darkness, Yami, by striking solar plexus, increases the user's speed and power. Opening of this gate releases such enormous amounts of energy that it can cause nearby water bodies to form a vortex around the user and a shimmering black mist to cloak her body until her entire figure would be encased in black, hence "Darkness" before expelling and revealing her "Princess of Darkness" form with Amythest skin, blood red eyes, platinum white hair and armor made from the depths of Yomi itself.
- The Gate of Void, Boido, by striking the stomach, further increases the user's speed and power Those who open this gate will secrete glowing purple sweat from every inch of their body which immediately evaporates from their own heat energy, creating an aura which people mistake as a chi coating. Unfortunately, the side effects of opening the gate are that the user's muscle fibers are ripped to shreds, causing intense pain if anything or anyone touches them and the user's body would be nothing but what would seem like a form of black mass.
- The Gate of Demon, Akuma, requires the user to puncture their chest just above the heart in order to open it. Opening this gate will cause the user's blood to emanate a flaming aura of white steam from all pores of their body, hair, and eyebrows. Releasing this gate uses up all of the body's energy while making the heart pump at maximum power. Exceeding the power of every other gate, the user is granted approximately a hundred times their normal power. Unfortunately, the side effect of opening this gate is that it comes at the expense of the user's life, causing the user to crumble to ash, having virtually cooked themselves from the inside-out. This is unlike opening the other gates, which simply injure or damage the body.
Enemy: Anyone who goes against her
Allies: The Infinites
~Where you add the Role-play logs you have particapated in~
~Two approvals will be needed IE: Chairmen Tasanagi, Chariman Ryoji, Chairman Yun