Black with grey tint
Omega Gene Level:
all appearances are in order
Katsumi has jet black hair that's tied and tucked into her scarf, and her eyes depend on the lighting. If in a well lit area, her eyes seem like a dark amber, and if in a dark secluded area they look as dark as her hair, and sometimes red. She usually has on a red scarf and a smile on her face, and her body's mostly covered up. Though this is during the day.
During the night, Katsumi's eyes are a dark-light-ish red to a bright amber. She shows more skin by wearing black shorts, and a small white crop tank top cut up just below her breast with straps and black boots. Her hair falls out and the tips reach around the back of her knee and tied 3 inches above with a red bandage.
After training and fusing with Aki, Kat's appearance changes as she achieves her Hybrid Form, gaining hair with a reddish tint, eyes that glow amber, ears, nine burnt red coloured tails, armor made from Aki's father, Bishamoten's armor that and she inherited her Guardians abilities though is only limited to those abilities, until given an opportunity to learn more.
As a KPD officer, even though she don't apply by the dress code rules, Kat dresses in all black skin-tight shirts and pants along with a pair of knee-high boots. Occasionally, she'll wear shades that'll hide her stormy grey eyes and her hair would be down to the side or just everywhere. She usually has two main weapons on her. A belt full of throwing knifes and two semi-automatic pistols strapped to the outside of her thighs. Of not in black attire, she's pretty much in a cliche, very exposing officer's uniform.
After a while, turnin' 18 and all, she grew, cut her hair, turned colder, locked her heart up and what not else. She returned back to her very first look as a freshmen with the red scarf, and those dark piercing grey eyes that seem to stare right into your soul. Her skin is very much like porcelain now almost, and her attitude much more.. quiet, cold, and distant.
After everything that's happened, it only made Kat turn even colder to the world. Her hair is still pretty short but she could be seen with the same cold eyes that she's possessed before. Her attire varies from a long black over coat or a jean vest, with a black bikini/crop top, jeans, and boots. There's a tattoo on her arm that acts as a seal, only to be removed in dire situations.
The Galaxy Hybrid form is the Strongest of Kat's two forms. In Galaxy Form, her hair is a snowy pinkish-white and her eyes a bright hot pink. Her armor is basically the same colors as her hair and eyes. In this form, she holds ten tails instead of nine, holding ten generations of Yoru as gift and ability from the First.
Main Appearance - Currently
On anyone's first glance, Katsumi would've been seen as nothing but troublesome. They're right. Katsumi Yoru is a trouble maker. Enemy of the law, ally of mischief. Her busty assets only bring her more trouble. Kat is actually a rather laid-back female. She is also noted to be rather blunt, speaking freely about sensitive topics, as well as not being hesitant in pointing out others' flaws. Even with her superiors, she is not afraid to challenge them, which on a few occasions resulted in a physical conflict. She often slacks off, and would rather drink and let others do work. However, when needed, Kat can be serious and focused, as seen when she fights on the streets. She is also fiercely loyal to those she deems worthy as friends, but insulting or playing around with Kat can lead to being punished.
Arc 18: N/A
Arc 19: After reuniting with her mother, gaining a sister and aunt, and even more friends, Katsumi is more humble and takes less for granted, because she never knew when anyone would get up and leave her. All in all, she slowly starts to shift into someone new.
Arc 20: Oh. Look at that. Kat's got a boyfriend. Kat has had her head in the clouds ever since meeting the blonde hulky hunk, but along with that, she meets his "brother", whose mindset is stuck on exterminating the onihoruda population, and even MORE, Wade disappears, leaving a lonely, lonely, lonely, depressed, anger-filled little fox.
Arc 21: N/A
Arc 22: Falling in love and falling out of love so quickly really can arm a girl if it was her first love. Oh well. While no one would really know, the emotion that drives her life the most is her absolute fear of what she committed. She is constantly hounded by the spirits of whoever she's killed; every time she turns around she sees a remnant of them. Her mind constantly replays events with these spirits to the point where she will make a vocal response to someone not there. Most people would assume she’s silent, but Kat is actually trying to focus her mind on anything but what her mind is conjuring. While she is very alert to her surroundings when she needs to be, on the whole she’ll space out. These massive gaps of time where she stares at nothing can last for an entire hours and she sometimes tries to physically attack what she is dealing with. The best way to think of it is Kat is someone who is straddling two different realities at once, one of which she wants to be free of.
The entire world goes on around Kat, but she doesn’t really emotionally respond to it. Kat can talk and acknowledge the world, but she doesn’t really seem to “feel” anything about it. Someone can (and has) confessed their love straight to her face and she can ignore it or simply demean it. She doesn’t really get mad, sad, jealous or scared. It’s comparable to say that she doesn’t really care about the consequences of anything she does. That’s not to say that Kat can’t smile, she seems to take a certain delight in telling people how they are about to suffer because of her. While she may not use emotions, she certainly knows how people react to certain situations and thus makes preparations based on the emotion that someone is exhibiting. There are some emotions ( like love) that she doesn’t understand, though it seems that when someone is willing to die for the way they feel; she finds interest in the emotion and might research it in a subtle way.
This is actually something that Kat is very proud of. She believes that her hate is a source of power and conquering it makes her extremely strong. The hate she feels comes from losing her chance to ever have a normal life. She learned to become a killer and nothing else. Realizing the emptiness of that fact, she killed the source of her hate. Another person took her place and was going to follow down the exact same path, but this girl was left alive. She uses her own hate to fuel her reason to cause destruction and gain control. It is the reason she can watch someone suffer and smile while it is happening, it also what had killed off her emotions. Since she has been corrupted by this feeling, she feels like everyone else is too. Since everyone has it, if she is capable of mastering the emotion then she’ll be better than those that are controlled by their own hate.
Dissociative Identity Disorder is thought to be an effect of severe trauma during early childood, usually extreme, repetitive physical, sexual, or emotional abuse.
The White Fox and Black Rabbit SyndromeEdit
The Hunter and the Hunted
The White FoxEdit
The White Fox in representation of the Yoru Clan is the spirit animal of which the First started out as before becoming a human, and before her immortality. Within the White Fox session, Katsumi, or rather, Yoru now, would be in complete hunter mode. Majority of the time she could be brash and rude and hostile, but the White Fox can also be playful and gentle.
The Black RabbitEdit
The Black Rabbit is in representation of the weakness within the Clan, and that weakness can now be shown in public eye to where the Black Rabbit session is in complete control of emotions, actions, and speech. The Black Rabbit represents the Hunted. It can be seen as timid, shy, and quiet. Very quiet.
A chaotic good character acts as his conscience directs him/her with little regard for what others expect of him/her. He/she makes his own way, but he or shen is kind and benevolent. He/she believes in goodness and right but has little use for laws and regulations. He/she hates it when people try to intimidate others and tell them what to do. He/she follows their own moral compass, which, although good, may not agree with that of society.
Chaotic good is the best alignment you can be because it combines a good heart with a free spirit.
Chaotic good can be a dangerous alignment when it disrupts the order of society and punishes those who do well for themselves.
1. You shall lie in the pursuit of goodness.
2. You shall not harm the innocent.
3. You shall murder but only if it is nesscary.
4. You shall help the needy.
5. You shall honor those who promote freedom and goodness.
6. You shall break the law in pursuit of goodness.
7. You shall not betray others.
8. You shall avenge the acts of evil-doers and enemies of freedom.
9. You shall not place duty above personal desire to do good.
10. You shall seek unlimited good for others and freedom in society.
Street Fighting Is not a specific type of martial art but more of a discipline and is slowly learned through long experience in informal fighting. Due to lacking any inherent combat forms and techniques the style is wild and often unpredictable making it difficult to anticipate a users attacks making it difficult to defend against but at the same time is also rough and can expose fatal openings in some of its wilder attacks compared to more disciplined martial arts that can make it easy to counter. This is mostly for beginner thugs or people who don't truly want a style. For all my cold cut sluggers who just wanna give there opponents a beat down without the hassle of learning an actual style. Ha! This will be common in District 1 peeps who have lived there their whole lives. Skills that are harnessed to a gangster brilliance of sheer brutality. Show us how you throw down.
Flow of battle:
A Sei type martial artist hides his intention to fight, instead focusing on sensing his/her environment, then releases it quickly in reponse to danger. According to the manga, it actually means that this type of martial artist fights not with power or anger, but with talent, skills, and wit. There are some Sei fighters who move onto the Satsui no Hadou. Densuke Mifunae has mastered the art of Sei to it's highest level. A Sei type martial artist fights not with power or anger, but with skill and wit. This principle requires a state of calmness and a clarity of mind.
Katsumi learned the art of Aikido from Kana. 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). Kana 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.
Tai Chi mentions the eight basic methods of practice: Peng (ward-off), Lu (rollback), Ji (push), An (press), Cai (grab), Lieh (Break), Zhou (elbow strike), and Khou (shoulder strike).
When performing the eight basic methods, the force is directed from the middle finger of the palm. The five fingers are closed to each other and relaxed. The hand leads the elbow, and the shoulder follows. The shoulder also rotates with the waist. This spiral action, whether it is directed forwards, backwards, upwards, or downwards, must be crisp and well defined. At the end of the move the shoulders and elbows are relaxed and sunken. There is a feeling of fullness in the fingers. In Tai Chi the navel and the nose form a centerline. The left and right hand control its corresponding half of the body. When the left hand is traveling to the right, or vice versa, the hand should point toward the tip of the nose when traveling up, and toward the tip of the foot while coming down. This way the whole move will not deviate from the midline and the body remains balanced and comfortable.
To maintain the flow of Peng force throughout the form is a skill that can only be achieved with years of practice. The student has to pay special attention to appreciate this phenomenon. As to how deep the breathing and how large the force should be used during a practice to achieve the Peng force, I can suggest a simple criterion. Just as a person bends forward to lift an object from the floor, the power generated by this intentional and yet subconscious act is roughly equivalent to the force of the Peng. Once the person straightens up his body the force is not the same as Peng. So one can say the force either stronger or weaker than that of bending forward to lift is not Peng. If a student can sustain the right amount of force, his qi will not be lost. The alertness helps to detect the strength (listening energy) of his opponent.
Lu is another basic method of Tai Chi. It is also one of the four direct forces. Lu is frequently used in the Chen Style combat. The power point of Lu is on both wrists. When applied together with rotation of the waist Lu redirects the momentum of the opponent, leading him astride. The saying of “four teals of force can move thousand pounds” about Tai Chi actually is a reference to Lu. During the move the body has to be coordinated: the energy point has to be precise, the shoulders and elbows are lowered, and the qi flows down the spine. The neck and the tailbone form a vertical line and the posture of the body is kept straight. The spine becomes the central axis and the waist rotating around it like a wheel. When the waist and spine turn together smoothly, the force of the opponent is diverted to either side of the body. The more the hands and the waist coordinate, the stronger the power of the Lu. At the point of contact the move should be light, precise, quick, and continuous. With the rotation of the waist the forward momentum of the opponent is unchanged, nonstop, and unbroken. His speed is suddenly exaggerated, and a lack of compensation invariably results in a loss of balance. Lu can be performed with one or both hands. The one-handed move is used during the transition from Twist Step (Ao Bu) to Hidden Hand Punch. In this sequence, the right hand diverts the charging opponent by an upward and backward action. Simultaneously the right footsteps forward and a punch are delivered at a close range. The two-handed Lu is seen in a number of sequences, such as the Oblique Form, and Green Dragon rising out of Water converting into Both Hand Push. The force of Lu cannot be dissociated from that of Peng (ward-off). Otherwise its energy will crumble. As that happens, the rotational force of the waist cannot be fully expressed and the Lu generates much less power, leading to a substandard effect. This point deserves special attention.
Ji is also one of the eighth basic methods. It belongs to the direct forces and is frequently applied in the Chen Style Tai Chi Chuan. When used in a close range Ji can cause an opponent to lose balance. It is also an extension of Peng, aiming to compromise the attacker. Ji can be delivered in a number of ways: using one-hand, both-hands, the elbow, the shoulder, the chest, the back, the hip, or the thigh. The move can be adjusted at anytime. It can assault the opponent if he is holding back. When he moves forward, Ji can displace his momentum to miss the target. Ji is a technique used in close range, so the body must be stable. This provides flexible mobility and maximal adaptability during combat.
An (press) is one of the eight basic methods and is another of the direct forces. It is a common technique in Tai Chi Chuan. An means to close and to shut down. Its focal point of force is transmitted from the center or the root of the palm, while the center revolves around the waist. The energy (qi) is accumulated in the tan t’ien. An can be delivered with one or both hands. The proper posture of An dictates that the shoulders be sunken and elbows submerged. With folding the chest and loosening the waist, the body is kept erect while the qi descends to the tan t’ien. The turning of the waist brings the whole torso into motion, coordinating the upper and lower body into a single compact system. “Both hands have to sink downwards, otherwise the shoulders would be elevated, rending the form useless.” Therefore it is critical to make sure the shoulders and elbows are sunken in order to express the power of An.
Cai is another of the eight basic methods. It is one of four indirect forces. In Chen Style Tai Chi Chuan, Cai is basically meant grab and hold (qin na). There are many ways to deliver Cai, including single Cai, double Cai, elbow Cai, and chest Cai. Almost any part of the body can be integrated into a Cai move. To understand and execute Cai in Tai Chi, the practitioner must first acquire the skills of detecting, neutralizing, and applying force. These skills are essential to perform this basic method of Chen Style Tai Chi. In Cai the movement of the body and the footsteps merge beautifully, creating agility and variations. Whether it is grab or counter grab, hold or reverse-hold, this basic method is very practical. When Cai is used, concrete and fathom forces are often alternated and intermingled, making it hard for the opponent to anticipate. The essence of Cai is to maintain a sharp eye and a quick hand, targeting the muscles and the joints of the opponent. The goal is to strike the bones and grab the ligaments, rendering him defenseless. These are the basics of grab and the essences of hold (Cai).
Lieh can be applied by single, double, outward, inward, upward or downward action. For example a single Lieh can be used when the opponent grabs my collar. Using the principle of leverage I spiral downward my body and roll my arm upward, attacking his elbow joint. The single Lieh can be delivered in a flash and causes significant damage. It should be applied with precision and caution. The double Lieh and the downward Lieh are easier to learn, but the amount of force exerted requires special attention. The execution of the outward lieh, inward lieh, and upward Lieh requires a sharper turn of the body. These moves are prone to cause injury to the elbow and arm of the opponent.
Zhou can be executed in a number of ways: single Zhou, doubling Zhou, flow Zhou, Zhou across the waist, Zhou to the heart, upswing Zhou, back-breaking Zhou, back-to-back Zhou. Single Zhou is used most often. For example in Shield Heart with Elbow, the move involves single Zhou. In 38 Section Routine switching from Oblique Form to Buddha Stump the strike is an across the waist Zhou. During the transition from Ground Hitting Punch to Double Kick involves the backbreaking Zhou. The last few moves in Cannon Fist consist of several Zhou moves: across the waist Zhou, flow Zhou, Zhou to the heart, and back-to-back Zhou. The move after “Go Straight with Left Palm into the Well” is a double front Zhou. In Xin Jia a step-back downward pressing Zhou follows Reverse Rolling of the Curtain.
Khou is one of the eight basic methods of Tai Chi. It belongs to the indirect forces. Khou is also an explosive strike delivered at close range. The method uses parts of the body between the shoulder and the knee to attack. For example: shoulder strike (inside or outside shoulder), and chest strike. If the attacker tries to encroach from the front, I will use Peng to neutralize his action, followed by chest strike to hit his upper body. If the attack tries to wrap around me from behind, I will quickly fold my chest and loosen my waist. This will be followed with a back strike to the chest of the attacker. There are also Khou striking with the hip and the buttock.
Chi blocking is an ancient technique that has been practiced in secret for centuries. It is a special ability that is utilized in combat against their enemies. Blocking someone's chi renders the victim's muscles useless and temporarily disables their abilities. Chi blocking is mainly used as a way of self-defense or even an attack form.
YAU KUNG MOONEdit
The Yau Kung Moon System is representative of southern styles in being based on a low, stable horse stance. It employs many upper body techniques and most kicks are kept low. The YKM stance resembles the familiar "ding gee ma" or Kung-Fu side horse but back arch is more pronounced and the shoulders are thrown forward with arms and hands protecting the chest and groin area. Defense is natural since the critical areas of the body are behind the protective wall of the shoulders and arms. Kicks or punches delivered within range of the practitioner would still be out of range of vital areas. This same stance also lends itself readily to offense as the arms are already in the attack position and the back leg has the distance of leverage required for powerful kicking. Yau Kung Moon has both an external and internal training. However, like most other styles of Kung-Fu renowned for their internal power, the individual system's manifestation of internal power is still somewhat secretive. The majority of early forms are primarily external while the most advanced forms evolve into primarily internal. The external training consists of 13 fist and 28 weapon sets.
NG GA KUENEdit
Ng Ga Kuen roughly translates to “Five Family Boxing/Fist”. As the name implies, it is distinctive in that it brings together techniques of five different family styles: Choy Gar, Li Gar, Mok Gar, Fut Gar and Hung Gar, taking the best of each style to create a very complete system. It also incorporates techniques and forms from the 5 legendary Shaolin animals, the Tiger, the Dragon, the Leopard, the Snake and the Crane.
The main components of the style are the legendary five families' kung fu styles: Fut Gar, Li Gar, Mok Gar, Hung Gar and Choy Gar, each of them complete styles with different approaches to Kung Fu, all descended from the temples of Shaolin Their lines came together and created a style that combined the might of all the Five families to create a system with better transition and strength.
Five Family Kung Fu Styles:Edit
Fut Ga (in itself a combination of two family styles) provided its powerful open palm techniques, knifehand chops and blocks, pokes and slapping techniques along with evasion and utilizing the force of the enemy against them.
Hung Gar added its ferocious, direct and powerful punching style, chosen thanks to its directness in power usage.
Choy Gar added its useful medium stance and its swift footwork, facilitating quicker transitions and improving on the style’s speed, also adding to the balance and agility of the style. This style comprises the stances utilized in Ng Ga Kuen.
Li Gar, the most obscure of the Five Family styles, provided the new style with its effective blocking, throwing and containment style along with some Chin-Na techniques, in order to become the system’s defense.
Finally, Mok Gar completed the new system with its unmatched, powerful and stealth kicking style, for which the style was very renowned. A set of forms was then created by the masters, to ensure the style’s longevity and to help students assimilate the techniques.
The style was complemented with the Five Legendary Shaolin Animals, each with its own approach to fighting techniques, and each with its own advanced form within the style:
The Crane represents equilibrium and it features open palm thrusts, knifehanded strikes and blocks, powerful kicks and the use of the crane’s beak, where the hand is bent downwards at the wrist with all of the fingers extended and closed together to form a beak. The fingers would be utilized to strike at weak spots such as the ears, eyes or use nerve-strikes, while the hard surface of the bent wrist would be utilized to strike with power using odd angles. The beak is also used as a hook to parry incoming attacks. The crane is an internal style, and it focuses on equilibrium, balance, precision and elegance, which it instills on each student with its form and techniques.
The Tiger represents strength and power, and it features the diverse Tiger’s claw, utilizing it for tearing, ripping, clawing and grasping an opponent, as well as striking with the palm of the claw. It aims for vulnerable targets such as the face and groin. It also makes use of devastating and dynamic kicks, such as the tiger’s tail kick. The tiger’s is considered an external style and it focuses on strength and power. It develops bone structure and power in the student, taught through tiger exercises and its form.
The Leopard represents speed and agility, and it makes use of the Leopard’s claw, basically a half-fist, created by folding each finger at the fist phalanx, using the ridge created thus as a striking surface, also using the palm of the claw as secondary weapon. The leopard attacks at narrow targets with its agility and speed, such as the throat, the ribs, the joints and nerve targets such as the brachial plexus in the neck, arm or armpit. In Ng Ga Kuen, Leopard utilizes the joint of the wrist along with the leopard claw as a blocking surface. It also employs palm thrusts to the face, powerful elbow and knee techniques, and lightning-fast low kicks. The Leopard is external and its focus is on speed and agility, and is described within Ng Ga Kuen as specializing in destructive techniques. It develops muscle structure, speed and agility.
The Snake represents evasion, endurance and deceit in combat. The snake evades the opponent and uses its sinuous movements to stay out of its range. The snake fist is simply an open, extended palm, with the palm pointing downwards and the straight fingers pointed at the enemy. Utilizing circular and sinuous movements, the snake arm is used to parry an attack. The snake targets only the most vulnerable and soft areas, particularly the eyes, the groin, the throat, some joints and nerve clusters, although it can also make use of knifehanded strikes. Snake is the other internal style within the Five Animals, and its focus is on strategic combat, flexibility, evasion and endurance. In a student, the snake style aims to develop superior endurance and chi harnessing through breathing training, along with flexibility.
The Dragon is the last of the Five Shaolin Animals, and it represents intelligence, internal power and the ability to flow in combat. The Dragon, unlike the other five animals, makes ample use of the fist as a striking weapon, but it also features the Dragon Claw, formed with an open palm, but with the first phalanxes of the finger slightly bent. It is used to strike with the palm, to chop, to claw or to grasp an attacker. Dragon style emphasizes circular, explosive and long distance attacks, designed for penetrating an opponent’s defense. The Dragon, though seeking spiritual development, is neither internal nor external; rather, it is considered by practitioners of this system as the balance between the two. It also places the Five animals in equilibrium, as there are now two external styles (Tiger and Leopard), and two internal (Crane and Snake), being complemented by the balanced Dragon. Dragon style has its focus on teaching the student to flow on the attack, and seeks the development of the spirit and of the chi.
Jujutsu (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.
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.
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.
Xing Yi QuanEdit
Xing Yi Quan features aggressive shocking attacks and direct footwork. Most of the training and footwork are practiced on straight lines. The linear nature of the art hints at both the military origins and the influence of spear technique alluded to in its mythology. The goal of the Xing Yi exponent is to reach the opponent quickly and drive powerfully through them in a single burst. The analogy with spear fighting is useful here. This is achieved by coordinating one's body as a single unit, and the intense focusing of one's Intent (Yi 意) and coordinated power (Jin 劲) utilizing tight circles (usually in a forward direction). Issuing explosive power in Xing Yi is referred to as 'Fa Jin' (发劲), the same term used in many other traditional Chinese Martial Arts.
Despite its hard, angular appearance, cultivating "soft" internal strength is essential to achieving power in Xing Yi Quan. Also, the advanced practitioner always contains tight spirals within his movements, so even the seemingly direct and linear ones are circular on a very small scale. Such circles and spirals also exist in other martial arts, but Xing Yi (like Southern Praying Mantis) likes to keep them smaller than others.
Efficiency and economy of movement are the qualities of a Xing Yi stylist, and its direct fighting philosophy advocates simultaneous attack and defense. There are few kicks except for extremely low foot kicks (which avoids the hazards of balance involved with higher kicks) and some mid-level kicks, and techniques are prized for their working within key principles rather than aesthetic value.
Xing Yi Quan favours a fighting stance called Sān Tǐ Shì (三體勢 / 三体势), literally "three bodies power," referring to how the stance holds the head, torso and feet along the same vertical plane (As a Zhan Zhuang method, this stance is trained lower). Though usually held shorter and higher in actual fighting, in training San Ti is more often trained at middle-low heights.
Also called 'Friction Stepping' (Mo Ca Bu; 摩擦步), This exercise is meant to ingrain in the practitioner the correct forward-stepping habits and methods of Xing Yi, which are different from those of other arts (though similar to those found in some styles of Bagua Zhang). Plow stepping is a precursor to Xing Yi's 'Chicken Stepping', which is the faster and more explosive stepping method in the art. In Yi Quan, Plow Stepping had been replaced with 'Mud Stepping'.
Shi Li (試力) / Mo Jin
In many lineages, there is an intermittent stage between the stationary Zhan Zhuang and the more complex Five Elements (though this stage might also be taught following the Five Elements). The two names above are interchangeable for a few exercises developed to fulfill that purpose. Shi Li movements are basically simplified versions of the more advanced body mechanics and circles found in the Five Elements and the Animals. Their focus is on training one's structure and Yi, and can be thought of as 'Zhan Zhuang in movement'. They are usually trained very slowly, one movement at a time, repeating the same movement for many minutes on end. The more advanced practitioner many also spontaneously link up and flow between different Shi Li movements, or train them more explosively with Fa Jin (发劲). In Yi Quan, the original Five Elements and 12 Animals have all been 'condensed' and 'refined' into forms of Shi Li, which replace them as the core exercises in the art (together with Zhan Zhuang). There also exists in certain lineages a type of Shi Li drill called Si Bu Pan Gen. It originated from Bagua Zhang, and is a form of tight Circle Walking - encircling a small square rather than a circle. The main purposes of it is to train evasive stepping and stretch the hip and groin regions (the Kua).
Five Element Shapes (Wǔ Xíng 五行)
Xing Yi uses movements called the five classical Chinese elements to metaphorically represent five different states of combat.Also called the "Five Fists" or "Five Phases," the Five Elements are related to Taoist cosmology although the names do not literally correspond to the cosmological terms. These five movements make the 'base' of the art, upon which all further combative knowledge and skill is built upon. Most schools will teach the five elements before the twelve animals because they are easier and shorter to learn (though eventually more difficult to master). The Five Elements do not appear in Henan XinYi LiuHe Quan, though similar movements and methods exist in that art's curriculum.
Yin Style as passed down by Xie Peiqi is notable for having eight distinct animal styles within the body of the art. In other words, Xie's Yin Style is a complete system, which is made up of other complete systems. These include the eight animal systems as well as several 'unorthodox' systems, such as the Penetrating Palm and Backhand systems. Each of the eight animal styles is related to one of the eight trigrams of the I Ching. The following table describes this relationship:
Each animal is a complete system in its own right, possessing its own personality, skills, applications, and functions. Each of the eight animal systems contains eight striking methods, and each striking method has seven strikes. Three of those seven are considered the 'primary' strikes and are emphasized more than the others in single practice. Therefore, the animal systems of Xie's Yin Style Bagua have a total of 448 unique strikes. However, Xie's Yin Style Bagua also contains other unorthodox systems outside of the eight animals, such as Penetrating Palm and the Backhand systems. Hence, there are more than 448 strikes, though 448 are contained within the animals. (Note that the animal relationships with the bagua diagram are not unique to Xie's art; these relationships are also often used for other styles of bagua, including Cheng substyles, such as that of Sun Lutang.)
Other substyles of Yin include different forms and methods. For example, Cao Zhongsheng's system's technical base is the 64 palms (also taught by Wang Peisheng); other substyles focus on only 8 main palms (such as that of Liu Zhenlin, Li Baosen, or other Men Baozhen lineages). Gong Baotian's version has many forms and a strong emphasis on Yin Fu's Luohan forms. Each substyle also includes many supplementary forms (such as luohanquan) and training methods (such as hand hardening methods).
Qian Trigram Lion System
The lion is pure Yang energy, or hardness, and is one of two animals represented by a pure trigram; the other is the Unicorn. The lion trigram is characterized by powerful and ferocious full-body force generated from the waist. The lion's eight striking methods are: sweeping, cutting, chopping, hooking, shocking, blocking, seizing and grasping. The lion's characteristic movement technique is Linking the Forms.
Dui Trigram Monkey System
Concentrates on leg techniques, referred to as the interlocking leg. Its striking methods are: bending, thrusting, straightening, hip, chopping, swinging, stopping, and ending. The monkey's characteristic movement technique is Compacting the Body.
Li Trigram Rooster System
The rooster focuses on long, deep footwork with one's center of gravity close to the ground. Power comes from the elbows. The Rooster's striking methods are: dodging, extending, lifting, shifting, entering, whipping, rushing and stabbing. The rooster's characteristic movement technique is Reclining Step (also known as Lying Step).
Zhèn Trigram Dragon System
Known as the lifting and holding palm. Its striking methods are: pushing, lifting, carrying, leading, moving, capturing, chopping and entering. The Dragon's power is emitted through a forward motion of back and waist. The Dragon style, although practiced differently in Yin Style, is the animal practiced by Cheng Style Baguazhang. The dragon's characteristic movement technique is Lifting and Upholding.
Xun Trigram Phoenix System
In the phoenix system, force is emitted from the shoulders, and characterized by whipping action. The striking methods are: dodging, extending, chopping, shocking, transforming, removing, curling in, and cutting. The phoenix's characteristic movement technique is Windmill.
Kan Trigram Snake System
The Snake's striking methods are: shoulder, elbow, knee, hip, shooting, binding, entrapping, and grasping. The style is characterized by a smooth and flowing motion of the force-palm, with many of the strikes targeted at vital organs. The snake's characteristic movement technique is Moving with the Force.
Gen Trigram Bear System
The bear system is distinguished by a strategy of taking advantage from a losing position. The Bear's striking methods are: rushing, penetrating, withdrawing, carrying, leaning, shocking, soft and following. The Bear's power is generated from the back, and is short and blunt. The bear's characteristic movement technique is Turning the Back.
Kun Trigram Qilin/Unicorn System
The Unicorn is the opposite of the Lion, being pure Yin. The Unicorn's striking methods are: sticking, kneading, soft, following, hip, striking, chopping and cutting. It issues force by employing all joints to produce a flexible, snapping power. The unicorn's characteristic movement technique is Reversing the Body.
Lui He Ba Fa ChuanEdit
Six Harmonies, Eight Methods
Six Harmonies, 六合Edit
體合於心 (Pinyin: tǐ hé yū xīn) Body and Mind Combine
心合於意 (xīn hé yū yì) Mind and Intent Combine
意合於氣 (yì hé yū qì) Intent and Chi Combine
氣合於神 (qì hé yū shén) Chi and Spirit Combine
神合於動 (shén hé yū dòng) Spirit and Movement Combine
動合於空 (dòng hé yū kōng) Movement and Emptiness Combine
Eight Methods, 八法Edit
氣 (qì) Chi
骨 (gǔ) Bone
形 (xíng) Shape
隨 (suí) Follow
提 (tí) Rise
還 (huán) Return
勒 (lè) Retain
伏 (fú) Conceal
三盤十二勢 Sān Pán Shí Èr Shì - 3 Divisions, 12 Spirits (1.Dragon, 2.Phoenix, 3.Tiger, 4.Crane, 5.Leopard, 6.Ape, 7.Bear, 8.Goose, 9.Snake, 10.Hawk, 11.Roc, 12.Kylin)
築基 Zhú Jī - Discovering the Foundations
呂紅八勢 Lǚ Hóng Bā Shì - 8 Essences of Lǚ Hóng's Fist
龍虎戰 Lóng Hǔ Zhàn - Dragon and Tiger Fighting
螫龍遊 Zhē Lóng Yóu - Coiled Dragon Swimming
螫龍拳 Zhē Lóng Quán - Coiled Dragon Fist
心意棍 Xīn Yì Gùn - Heart of Intent Staff
露花刀 Lù Huā Dāo - Dew Mist Broadsword
玉川劍 Yù Chuān Jiàn - Jade River Straight Sword
韋佗功 Wéi Tuó Gōng - Standing meditation
太陽功 Tài Yáng Gōng - Solar Meditation
一杰混元功 Yī Jié Hún Yuán Gōng - Primary Definitive Force
先天座 Xiān Tiān Zuò - Pre-Heaven Meditation
三盤推手 Sān Pán Tuī Shǒu - 3 Divisions Push Hands
Ditangquan, (Chinese: 地趟拳, literally "ground tumbling boxing") is a category of martial art that originated in the Shandong Province of China during the Song Dynasty (960-1279).The major characteristic of ditangquan is the ability to perform tumbles, falls, turns, somersaults and aerial acrobatics using those techniques for both offense and defense.Since the time of its origin, this martial art has spread throughout China and has been incorporated into other martial arts styles. Although ditangquan exists as a traditional style, extant versions of it were unknown to the Chinese modern wushu coaches and players of the 1970s; as a result, a "new" version of ditangquan was created based on the tumbling techniques of monkey and drunken styles, but without the characteristic monkey or drunken movements. Today, traditional versions of ditangquan can still be found included as parts of other styles, such as in chuojiao, or as separate martial arts, such as Fujian góuquán (dog style); in the traditional styles, there is less emphasis on tumbling and more emphasis on attacking and defending while falling on the ground. In modern wushu, however, the "new" ditangquan remains a common style used in competition today.
Taekkyeon contains many kinds of techniques, including hand and leg techniques as well as joint locks, throws and head butts. The whole body is used in each movement. Taekkyeon teaches a great variety of kicks, especially low kicks, knees, jumps. The basic steps are geometric and at the core of all advanced movement. All movements are natural to the human body.
The movements of Taekkyon are fluid with the practitioners constantly moving. One of its most striking characteristics is the motion called gumsil or ogeum jil: It is a constant bending and stretching of one's knees, giving the art a dance-like appearance. This motion is also used in the Korea mask dance talchum, so both arts look similar in a way. Taekkeyon does not make use of abrupt knee motions. The principles and methods used to extend the kick put more emphasis on grace and alignment for whole-body strength, as with the arm motions.
In competition, the players must use a foot work called pumbalkki (품밟기) which looks like a dance. The meaning of pumbalkki is "to step the pum". Pum refers to the triangular look of the hanja 品, as pumbalkki has a triangular form as well. The hanja pum means "level" or "goods", but it is used only because of its shape, not because of its meaning.
There are no set forms nor a fixed curriculum within the traditional system. Masters may create their own personalized system for teaching the basic techniques. Taekkyeon uses a lot of high, medium and low kicks. Sweeps with straight forward low kicks using the ball of the foot and the heel and flowing crescent-like high kicks. There are many kicks that move the leg outward from the middle, which is called gyeot chagi, and inward from the outside using the side of the heels and the side of the feet. The art also uses tricks like inward trips, wall-jumping, fake-outs, tempo, and slide-stepping. The art is also like a dance in which the fighter constantly changes stance from left to right by stepping forward and backwards with arms up and ready to guard, blending arm movements with leg.
Summoning Puppet Technique - The Summoning Technique is a space–time ninjutsu that allows the summoner to transport creatures across long distances instantly via blood.
Before a creature summoning can be performed, a prospective summoner must first sign a contract with a given species. The contract comes in the form of a scroll, on which the contractor uses their own blood to sign their name and place their fingerprints and once signed it is valid even after the contractors death as long as the contract itself remains intact. After this they need only offer an additional donation of blood on the hand they signed the contract with, mold their chakra with hand seals and then plant the hand they signed the contract with at the location they wish to summon the creature. The amount of chakra used during the summoning determines how powerful the summoned creature can be.
It should be noted that anyone can summon a contracted creature as long as they have the blood of someone who has made a contract, the seal of the summoned creature and a source of sufficient chakra that the summon will accept. A creature is capable of determining who is attempting to summon it from the chakra used.
Setsudan, or Severance, is a move using mainly the feet but using the entire body in order to function. This move requires strong upper body strength, flexibility, and lower body strength. With the upper body strength, the user is able to lift and hold their body up for long periods of time. Flexibility helps with the reach of how high and how one can strike and how far one can extend their legs to hit their opponent. Lower body strength used used to hold up the legs and what not when executing Setsudan. Using the full body in perfect sync, and with the power, pressure, and chi the user sets into the move, can they dismember their opponent or at least wound them to almost a fatal point.
Gyakuten, or Reversal, is basically using mainly the lower body, but using the whole body to execute Gyakuten. The first flip is to use the first strike with the foot to stun the opponent while the reversal kick is used to bring them down. All that depends is the pressure and chi applied to the move.
Supaku, or Spark, is basically named for the colorful sparks of chi that are released during the Kun Trigram Qilin/Unicorn System. The Unicorn's striking methods are: sticking, kneading, soft, following, hip, striking, chopping and cutting. It issues force by employing all joints to produce a flexible, snapping power. The unicorn's characteristic movement technique is Reversing the Body. This move can also be used with Gyakuten, so basically, Reversal Spark if named Gyakuten Supaku.
Herz Sturm, German for Heart Striker, is basically the Li Trigram Rooster System and the Kan Trigram Snake System. The rooster focuses on long, deep footwork with one's center of gravity close to the ground. Power comes from the elbows. The Rooster's striking methods are: dodging, extending, lifting, shifting, entering, whipping, rushing and stabbing. The rooster's characteristic movement technique is Reclining Step (also known as Lying Step). The Snake's striking methods are: shoulder, elbow, knee, hip, shooting, binding, entrapping, and grasping. The style is characterized by a smooth and flowing motion of the force-palm, with many of the strikes targeted at vital organs. The snake's characteristic movement technique is Moving with the Force. The strikes are aimed to the main body points.
Turn, Drop, and TwistEdit
The Turn, Drop, and Twist is using the Xun Trigram Pheonix System and the Zhen Trigram Dragon System. In the phoenix system, force is emitted from the shoulders, and characterized by whipping action. The striking methods are: dodging, extending, chopping, shocking, transforming, removing, curling in, and cutting. The phoenix's characteristic movement technique is Windmill. Known as the lifting and holding palm. Its striking methods are: pushing, lifting, carrying, leading, moving, capturing, chopping and entering. The Dragon's power is emitted through a forward motion of back and waist. The Dragon style, although practiced differently in Yin Style, is the animal practiced by Cheng Style Baguazhang. The dragon's characteristic movement technique is Lifting and Upholding.
Herz Sturm GyakutenEdit
Basically, the Herz Sturm Gyakuten, Heart Striker Reversal, is a mix of both moves put together, using the Rooster, Snake, and Monkey System.
String Chi is a concentration of a certain level towards the users fingertips, allowing flowy, thin, wisp-like strings to protrude from the tips, and be formed in a way of the user's imagination
Chi Base (Optional)Edit
Alteration: An affinity for Alteration means a person can change the properties of their chi to mimic something else.Similar to projecting ones chi, but different, things created via Alteration are pure chi.Alteration is often mistaken with Conjuring things due to their similarities. A simple way of thinking about it would be that Alteration allows your chi to mimic properties of a substance, whereas conjuring something allows you to change your aura into actual substances. Alterators can copy the properties of REAL things.
The Satsui no Hadou (殺意の波動, Satsui no Hadou, literally "Surge of Murderous Intent"), also known as the Dark 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.
The Hybrid PhysiologyEdit
Kitsune are believed to possess superior intelligence, long life, and magical powers. They are a type of yōkai, or spiritual entity, and the word kitsune is often translated as fox spirit. However, this does not mean that kitsune are ghosts, nor that they are fundamentally different from regular foxes. Because the word spirit is used to reflect a state of knowledge or enlightenment, all long-lived foxes gain supernatural abilities
There are no documented Hybrids in the Yoru Clan, seeing as that no one has been able to change into a fox form due to their low level in chi, chakra, or life power, until Katsumi. During her slumber state, Katsumi trained within her 'Mother's' Realm, and was given the ability to turn into a Hybrid with the fusion of her body and Aki's, gaining her powers, but not able to withstand that power without proper training, and more enhanced abilities that she IS able to withstand. In Japanese Mythology, Kitsunes were just foxes with the ability to turn into female, but it can also be vice versa. Instead of the original fox hybrid where the hybrid had the face of a fox and body of a human while covered in fur from head to toe, the First Form attributes from the original kitsune is just the tails, ears, eyes, sharp canines and the enhanced abilities. The prime age that the first form can be concluded by is by age 17.
Supernatural Condition- Users are glaringly, obviously and super/unnaturally superior over their race because their capabilities are pushed to the superhuman level; making them immensely stronger, faster, durable and smarter than normal members of their species (in that verse) can be achieve by any method of training. On the other hand, the only way for users to strengthen this ability is to perform intensive training or exercise, usually something bordering Training from Hell territory might suffice.
Enhanced Combat- User is able to become unbelievably skilled in the most forms of fighting known. They can be exceptionally proficient in the fighting traditions from variety of cultures and become advanced with their individual method of close quarter combat, include martial arts (from all over the world), boxing, and wrestling. They can also become superhuman skilled in the use of weaponry.
Enhanced Durability-The user's physical durability (ability to endure/resist damage) is considerably higher than an "average" member of their particular species allowing them to take numerous blows of internal or external assaults before succumbing to the effects. Basically in Primary or Secondary form, they are unable to feel physical pain, but they can be shot, stabbed, or damaged in any conventional way. But even so they never are seen bleeding or sustain loss of limb. Death due to old age (as opposed to preemptive death) is seemingly the only cause of death to the user.
Enhanced Endurance-Users can operate on a low power setting allowing them to operate much longer than the average being. Similar to Enhanced Durability or Self-Sustenance, users are allowed to take damage or to go without resources and still maintain activity.
Enhanced Regeneration-The user can rapidly heal from minor to serious ills, the rate of recovery varies and can sometimes result in the slowing, or even stopping, of aging. Some can grow missing limbs, others must put the limb back in place for rapid regeneration. User's cells regenerate very rapidly, or upon command. May also have effects on cell health or immunities.
Enhanced Senses-The user has heightened senses, allowing them to see, hear, smell, taste, and/or feel more than an average member of their species.
Fear Inducement- The user can make people unwillingly very frightened. The user psychically provokes the target’s brain to release fear-inducing chemicals.The victim’s perception is altered, they may see their environment as ominous and the user as dark and foreboding, or even seen as a monster. Can augment the effect to make others go near insane. The effect expires within one to several hours, unless maintained by the user of the power. The user can also paralyze a person in fear or kill them by giving them a heart attack.Some users may be able to sense fear, or gain strength from fear of others. Others might be able to enhance the effect by using it on a sleeping victim rather than an aware one.
Natural Weaponry-The user's body possesses natural weapons (claws, fangs, blades, beaks, clubbed tails, etc.) and they know how to use these weapons.
Claw Retraction-The user can project razor-sharp claws from their fingertips for offensive purposes. Claws can be composed of energy, bone, metal, or simple keratin claws. User may be able to retract their claws.
Enhanced Bite-The user particularly strong bite, either because of sharp teeth, strong jaw-muscles, unusual jaw-structure (mandibles of insects) or some other reason. Exactly what they can bite depends of the jaw-strength, resilience of their teeth/bite-surface and their shape.
Abilities - Techniques - LimitationsEdit
Electricity Manipulation : The ability to manipulate electricity
Electro-kinetic Combat : The user is able to utilize electricity manipulation with physical combat, granting them impressive offensive capabilities, while sometimes leaving their defensive abilities somewhat lacking.
Generating too much may cause unconsciousness.
Cannot manipulate generated electricity.
May have a limit for the amount of electricity generated.
Users of Elemental Cancellation can negate generated electricity.
May not be able to stop generating electricity.
Air Manipulation : The ability to manipulate air
Aero-kinetic Combat : The power to use air in physical combat
Wind Generation : The ability to generate wind
Overuse may tire user out.
Deep breath may be needed.
Using near fire-based environments may increase the heat.
- May be unable to create fire, being limited to manipulating only from already existing sources.
- Control is extremely important. Unconscious use of this power can be catastrophic.
- Distance, mass, precision, etc. depend upon of the knowledge, skill, and strength of the user.
- Fire Immunity and/or Thermal Resistance isn't always part of the package, so burning yourself is possible.
- Users can be overpowered by Water Manipulation, Water Generation, Ice Manipulation and/or Freezing.
- Unless user has Cosmic Fire Manipulation or Hell-Fire Manipulation/Holy Fire Manipulation, oxygen is needed as fuel.
- May be limited to controlling/immunity to the fire they create.
Anger Empowerment EditAnger Empowerment : The power to gain strength from anger. User becomes stronger, faster, more durable, etc. through anger, rage, hatred, and vengeance whether their own or others, possibly unlocking abilities related to the affinity and enhancing their existing powers. Some users may be able to draw sustenance from the anger or even slow or stop aging.
- May be limited by the amount of anger they can harness.
- May lose control when angered, causing harm to even allies.
- May snap out only by outside forces or lengthy periods of time in peaceful environments.
- May be difficult to snap out of rage-filled trance.
The Galaxy Formation Edit
The Galaxy Formation was based on the concept of the Three Main Galaxies: Elliptical, Spiral, and Irregular, but the main focus is on the Spiral.
Why it is, is because of the form of the center and from the center are its arms. In Aki's point of view, the arms are like tails, and she the center. And within the arms are millions, billions, trillions of stars. Within Aki's tails are Ten Generations of her kin, and so she passes the Formation to Kat.
Since the death of all Yoru, but Kat, Aki has gained more family than she would've liked in the Nether Realm, but has put them to further use for the last of their family in order to protect Kat and the linage. Within the Galaxy Fox Form, Kat holds ten tails, instead of what a full-bred Kitsune would have, that being nine tails or just one.
The Tails allow Kat to access ten people at a time. Take this as a new way of summoning, but instead of physical bodies that can be touched and touch you back, it's just an astral body, but contains the same knowledge that the entity had before it passed.
The Bloody and Colorless SkyEdit
For an odd reason after the birth of Aki Yoru's and Hiro Yamanaka's daughter, Kyoko, her eyes had a mix of both her parents. On the right, a dark grey color and the left, a bloody red. Aki figured it was because of the mix of her kitsune/god blood and her husband's human blood that their daughter's eye color varied, and why 10 generations of the Yoru Clan's eyes varied. Regardless of the eye color, each of the Yoru clan members has the blood of a fox-god in them since Aki was born as a fox-turned-human from the god of war Bishamonten. The majority of the mixed eye color is prone to females and is rare to males in the Yoru Family. These eyes that are given to the females allow them to shift into a fox form. It's highly rare to shift during the day, but when it's night, the ability to shift is at its highest, but then it's rare for anyone in the family to shift ever since Aki.
Using the red eye, the user can see more than a normal human can see thermal-infrared images of what they currently see if put to action, allowing different temperatures to be seen through that eye. Using the grey eye allows to see Ultraviolet light more than it's normal capacity by a black-light, or Ultraviolet A. With the enhanced sense of sight due to the blood of a kitsune/god mix, the user can move up to Ultraviolet B, a medium wave absorbed by the ozone layer, and rare occasions can include Ultraviolet C, but it's mostly limited to UVA and UVB.
The user, which is mainly female, can use this ability as many times as they want, but as many times as they use it, the ocular powers of the eye weakens and then redness in their eye fades and then once it has gone completely there will be no regaining it, even with the help of Aki.
The Amber Factor Edit
The Amber Factor deals with the Hybrids in the Clan. Katsumi Yoru received the Amber Eye once she fused with Aki and gained her nine tails and full Fox - Demon abilities that would help her out through the rest of her lifetime protecting her family for generations to come. The Amber eye actually holds the abilities of the Blood and Colorless Sky in one with the additional ability to the power of illusion. This ability is also called Greek Tragedy.
Greek Tragedy : The power to create realistic illusions to the people in her field of vision. Power to send powerful brainwaves to enemies creating mental illusions. This ability may be permanently enabled, however; the user can utilize these illusions to capture the victims in a powerful illusionary effect, ultimately leading to the victim's death. This power depends on the user field of vision. They can only create an illusion if the targets are visible to the user. The illusion can last as long as the victim is in the field of sight of the user.
This power is some form of telepathy illusion that can be use against the user if the victim has the mental capabilities and will power.
Any interruption with the user line of sight can instantly cancel the illusion.
Limited time of illusion, victim may or will discover the secrets of the telepathic effect of the illusion.
This ability will not work on immortals or semi-immortals.
Eyes are the main factor of casting techniques, and any damage to them may disable techniques.
May require eye-to-eye contact.
Katsumi's suit is based on her uncle Haru's science experiment seen in Kasaihana's Institute of Technology. Through the use of mechanical engineering, Haru strove to create a bike with intense, almost unimaginable speed. This was incorporated in Katsumi's super-suit which is modified to fit her Black Kat suit, is heavily consisted of the same electro-magnetic wheels used for her state-of-the-art bike. However, not only do the discs act as a wheels and a mode of transportation, they also act as dangerous weapons, capable of causing quite a lot of damage once flung to a specific target. Once the target is hit (if at all) the discs magnetically return to the suit, enabling instant reuse. While her abilities do not appear to be as powerful as her teammates, her intimacy with speed enables her to perform a combination of hits and attacks that give her an advantage in both ranged and close combat. Using all of the discs and moving at once at high velocity, Katsumi can cause the discs to become incredibly cutting, heated and powerful, enabling her to tear through hard objects but only at a proper momentum. With the suit, Katsumi is also given impressive speed, velocity, and agility in her human form. Another plus to the discs: You see that red lining right there? Yeah, the really thin red lining. That red lining is filled with Pentaerythritol tetranitrate (PETN), also known as PENT, PENTA, TEN, corpent, penthrite (or—rarely and primarily in German—as nitropenta), is the nitrate ester of Pentaerythritol, and is structurally very similar to nitroglycerin. Penta refers to the five carbon atoms of the neopentane skeleton. PETN is best known as an explosive. It is one of the most powerful high explosive known. ETN mixed with a plasticizer forms a pastic explosive. As a mixture with RDX and other minor additives, it forms another plastic explosive called Semtex as well.
EXPLOSIVE USE: The most common use of PETN is as an explosive with high brisance. It is more difficult to detonate than primary explosives, so dropping or igniting it will typically not cause an explosion (at atmospheric pressure ) it is difficult to ignite and burns relatively slowly), but is more sensitive to shock and friction than other secondary explosives such as TNT ortetryl. Under certain conditions a deflagration to detonation transition can occur. It is rarely used alone, but primarily used in booster and bursting charges of small caliber ammunition, in upper charges of detonators in some land mines and shells, and as the explosive core of detonation core. PETN is the least stable of the common military explosives, but can be stored without significant deterioration for longer thannitroglycerin or nitrocellulose. Its basic explosion characteristics are:.
Explosion energy: 5810 kJ/kg (1390 kcal/kg), so 1 kg of PETN has the energy of 1.24 kg TNT.
Detonation velocity: 8350 m/s (1.73 g/cm3), 7910 m/s (1.62 g/cm3), 7420 m/s (1.5 g/cm3), 8500 m/s (pressed in a steel tube)
Volume of gases produced: 790 dm3/kg (other value: 768 dm3/kg)
Explosion temperature: 4230 °C
Oxygen balance: -6.31 atom -g/kg
Melting point: 141.3 °C (pure), 140–141 °C (technical)
Trauzl lead block test: 523 cm3 (other values: 500 cm3 when sealed with sand, or 560 cm3 when sealed with water)
Critical diameter (minimal diameter of a rod that can sustain detonation propagation): 0.9 mm for PETN at 1 g/cm3, smaller for higher densities (other value: 1.5 mm)
BEP: Otherwise just known as Basic Explosive Product. Haru Yoru invented this little explosive from Katsumi's request. The BEPs are usually made from a dark, unknown variant of dark, with a futuristic design. Of course, each BEP type has its own unique design. The BEP can only be activated by the original user. How this user is "modified" for the bombs is unknown, but the bombs do only need a fingerprint of this user. This means that other users can use these BEP as well, so long as they are activated by the original user's fingerprint and are then deactivated by that opponent.
Three Types of BEPs:
Cracker: The Cracker type BEP takes the shape of a sphere, which is smaller than the size of a baseball. It has small rubber cushions on the outside that boast enhanced grip whenever taking one into one's hand. There is also a significant amount of space between these cushions, separating each cushion a good distance away from one another. Both the sphere and the rubber cushions also possess a grey coloration. There is also a small display on the BEP for a signal light to show when the BEP is activated or not and a switch located directly under it, which, when pressed, activates the BEP for usage.
Vortex: The Implosion BEP is essentially a small, semi-spherical BEP with a flat, circular surface on the bottom which boasts a width wider than the semi-spherical part of the BEP. The surface is used to stick the bomb to certain objects. At the top of the bomb, there is a small light that indicates where the switch is located. The top of the BEP is covered by metal which retracts into the BEP itself once the BEP has been activated, revealing a vacuum. After pressing the switch, it immediately goes into installation mode. At that time, the back of the bomb will become a suction device, which can be used to attach to the wall or the ceiling. A few seconds later, the slide cover will open and enter vacuum mode, at which time the BEP will start to suck in surrounding air and dust. Shortly afterwards, when its vacuum mode reaches the critical stage, the resulting void explosion can destroy almost anything within its vicinity.
Remote Control: The Remote Control BEP looks like a basic mine. It is round and flat. The switch is lit and located on top of the BEP. The bottom of the bomb is a suction cup, making it able to place the BEP on walls. After activating the switch and setting the BEP in position, one will be able to use the remote detonator to set it off freely from another location. These BEP are all numbered, so one can press the corresponding number on the detonator and set off the BEP in question. If strategically placed in an area where an opponent will go, it can be extremely effective. It is less effective when in close combat with another opponent. Using this BIM will put one at a disadvantage.
These small-scale machines are designed connect together through electromagnetism to form various shapes and perform tasks cooperatively. Thanks to their size, they are incredibly versatile; they can adapt to any situation, evade damage as well as supply reinforced strength when together. They are all controlled by a single neurotransmitter, and whoever wears it can command the Mi-bots to respond by a thought. All neuro-bots are designed to operate at high efficiency, even if the controller does not command the neuro-bots to do so.
Weapon of ChoiceEdit
The katana is characterized by its distinctive appearance: a curved, slender, single-edged blade with a circular or square guard and a long grip to accommodate two hands.HAND TO HAND COMBAT:
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.
EXTENDABLE BO STAFF:Edit
Katsumi keeps the bo staff hidden underneath the back of her shirt and whenever she needs it, all she has to say is a command and it'll shoot out through the bottom of her shirt or the top and she can grab it with easy access. When not in use, it's 12 inches, but when in use, it can extend into 6 feet in length.
Omega gene levelEdit
( N/A )