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 Posted: Sun Nov 15, 2009 12:27 pm
The Infinite One Sword Style (Mugen Ittōryū)
Advanced Taijutsu of the Hidden Mist and Hidden Leaf
http://www.youtube.com/watch?v=xocYeywG2cg
The Infinite One Sword style was created as a way to improve the relationship between the Hidden Leaf and the Hidden Mist villages. It was a joint attempt made by the Hokage Likkys Hatake, the Mizukage Zane Hajime, the Anbu Captain Tares Damascus, and the Pride of the Mist Luo Ushio. The sword style is a fusion of Leaf’s Lotus Taijutsu and training, Gentle Fist style, Mist’s Sword style, and the creation of Swords. Rather than relying on a single good quality blade the practitioner makes use of hundreds of katana scattered around the battlefield. The practioner does not care about the quality of the blades he uses, and uses a variety of moves making use of a single blade, or even multiple blades at the same time. Because of his reliance on hundreds of blades scattered around the battlefield the practitioner almost always has a blade, or multiple blades handy for use. He uses his swords for various purposes beyond normal melee attacking, including use as projectiles, paths to walk on, pins to hinder his opponent's movements, and also use for making multiple simultaneous attacks on an enemy or even several enemies. As a means to promote further relations between Mist and Leaf, the practioners must be trained at both Kirigakure and Konohagakure. Note that only a creator of this style can teach the final stage.
Stage 1: The Body Training
Academy
In the first stage of the style, the practioner does nothing but train his body by wearing weighted armlets and leg weights. The user trains by simply moving constantly and training sessions look almost like boxing matches, with the user having to constantly move around and dodge the trainer. It is believed that teaching one how to survive is the first order of business.
Stage 2: The Movement Training
Genin
After the basic body building is complete, the user then begins training technique. The user is taught how to keep momentum up, and how to move one move into another. This allows for stronger blows and more fluid movements. The user also learns how to constantly circle an opponent, keeping him on guard constantly. This is essential to using the infinite sword by moving constantly
Stage 3: The Sword Training
Genin
After all the hand to hand taijutsu training is completed, the practitioner is finally given a sword. Any sword will do. In this stage, the practitioner is trained in the art of the sword. By the end of the training, the practitioner feels bit more ease, capable of inflicting more damage and implementing more speed and strength. However, the user isn't at a level yet where he is extremely dangerous to anyone except a lower level taijutsu user or a genin without taijutsu training.
Stage 4: The Double Sword style
Chuunin
At this stage, the practitioner is taught how to use swords in methods never even thought of. The practioner is trained in many different forms:
Form 1: Balance…the practitioner is asked to stand and balance on the hilt of the blade on one foot while the blade has been stuck to the ground.
Form 2: Accuracy…the practitioner is trained on throwing a katana at an enemy. Usually a katana is not used as throwing weapons, but this is an essential part of the training. The practioner must have perfect accuracy by throwing the weapon at a bull’s-eye from 30 yards away.
Form 3: Dual wielding…the final form at this stage is the ability to wield two swords at once. This is only a small milestone in the sword style, but it is a step that needs to be taken.
Special Techniques:
Double Sword Technique
Description: With intensive training, the user of the style can learn to wield two blades instead of just one. This can only be done with katana or smaller weapons. When using two blades, the effectiveness of the user can double or even triple under the right circumstances
Double Shimmering Path:
Description: The practitioner throws two swords at once at high speeds at the opponent
Stage 5: The Summoning
Chuunin
At this stage, the user must seek out a Blacksmith to create hundreds of swords for him to use and seal them in a scroll. The user is taught the summoning weapons technique in order to summon the swords unto the battlefield. After this is done, the practioner is now taught how to use several swords at once. Using Mist Sword style, the practioner can wield two swords in hand at once, and grab several of them to use as projectiles. Using Leaf Taijutsu, the practioner can grab swords with their toes and use their feet to wield blades as well.
Special Techniques:
Tobidōgu (Flying Tools):
Description: This jutsu allows the practioner to store their swords in a summoning scroll and summon them whenever they want. The practioner is taught how to summon hundreds of blades and make them rein upon the battlefield. If the opponent is not careful enough, he can be skewered to pieces from the initial summoning.
Three Shimmering Paths:
Description: Using it, the practioner grabs onto three of his swords and throws them onto the ground creating a path. Then running along these swords the swordsman grabs onto a fourth one and uses it to directly attack the opponent at high speeds, using the hilt of each sword to push himself for more momentum
Stage 6: The Skewering
Jounin
At this stage the swordfighter is taught in the Hyuga’s gentle fist style. But not in the way one would think. The practioner is taught how to implement the blade with the techniques of the Leaf’s Hyuga clan and how to implement the several dozen swords into one giant attack.
Special Techniques
Addition Blows (1-12)
Description: The practioner moves at high speeds to attack his enemy. After each hit he will let go of his sword to quickly use another to let him attack from different angles while his enemy is stunned from his previous blow. This leaves his enemy covered with twelve swords
Sword Fang:
Description: Practitioner begins by hitting three swords standing parallel to each other. They are hit near the end, causing all three of them to slash upwards, in the manner of a "fang".
Vertical Line:
Description: Following his Sword Fang; all three swords momentarily hover in the air, where Mifune will then proceed to use the current sword in his hand to sequentially hit each, thereby launching each of them directly at the enemy.
Stage 7: The Massacre
Kage/Saanin
By this time, the user has practically neared perfection. His blows are perfectly straight and powerful, the user knows where and how to hit his opponent's body to inflict as much damage as possible. Using wide, sweeping strike the user is kept spinning and moving, almost like a top while fighting. The movements are so fluid that, even with making such wide strikes they still often hit. The weapons are more than extensions of the body now. The blades are the body. The pure grace and skill within the user is so high that it can only be described as awe-inspiring. By this stage…the user can effectively wield one hundred blades simultaneously by moving at such high speeds that they can easily strike, drop the sword, pick another and strike again. To master this style, is to be called a demon.
Special Techniques:
Multiplication Twenty Four Blows
Description: The practitioner will follow his Addition Blows with this attack. He strikes the swords that he left around his enemy from his Addition Blows which ends up cutting his enemy with the twelve swords all over again.
Stage Eight: Hells Ascension
Kage
At this stage, the sword master is said to have been granted his mastery over the sword from Susano-o himself. The shinobi's mastery over the countless katana he wields is incomparable to any other style around. A master of this stage has the capability of literally destroying an army on his own without so much as a scratch. When he moves, it is as if you were watching the wind dance listlessly. His movements are also quick and effective, not one strike made simply to maim. It is in this stage that the sword wielder has caused such a connection with the blades he fights with, that he has the capability of calling one to him from 100 yards away. Incorporated into this stage are the flips, tricks, and twirls which make him not only hard to hit, but hard to see. The swordsman is said to have invisible hands, capable of making it seem as if one were fighting ten katana wielding shinobi at once. It would take at least three jounin to effectively stand a chance against one of this rank. He is no longer referred to as simply a demon, his blades said to be forged in the flames of hell.
Special Techniques:
Arashi Terekineshisu(Blade Telekinesis) Kage/Sannin Rank:
Description: As the blades are summoned into the battle ground, as long as the swordsman so much as touches one of them, it is instantly infused with a chakra mark. This mark, allows the swordsman to literally extend his hands and "call" a blade to each one, from 100 yards away.
Arashi Kyuuten(Heaven's Blade) Kage/Sannin Rank:
Description: Burning his chakra into the blades on the battlefield, the swordsman can literally cause one hundred blades to hover and shoot towards an opponent, either all at once, or one at a time for five posts. In a limited fashion, the swordsman can control up to ten blades effectively in close combat, as if they were extensions of his actions and will. The latter of these two actions can only be done for five posts at a time, and a period of three posts afterwards must pass before it can be done again. Masters and Creators: Zane Hajime Likkys Hatake Luo Ushio Tares Damascus Raiden Ueki nara
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Posted: Sun Nov 15, 2009 12:29 pm
Puppeteer Taijutsu Style
Stage 1
Genin
Grin of the Dummy [Dankai Ichi Dami-Warai]
The most basic level of the Puppetry Technique, the user controls a single puppet through the use of chakra strings that extend from the user's figures. It takes one post at this stage to connect the strings, though the puppet can still be used to defend against an attack in that post, and these strings are invisible to all but those who can see chakra. Controlling the puppet requires both hands. The puppeteer can affect the puppet with the replacement and transformation techniques, assuming he knows those jutsu himself. The puppeteer can also speak through the puppet with his own voice by placing a chakra string leading from his mouth to the puppet. Because chakra dissipates after a while, the strings only remain strong enough to control a puppet at a distance of about 10 yards.
- Trip-Wire Technique [Tabi-Waiya no Jutsu]
A puppeteer can set up chakra strings as a rudimentary sort of trip wire, though this requires a free hand to set up and maintain the strings, so puppet use is impossible while using this jutsu until the chuunin rank. Unmentioned chakra strings fade immediately.
Stage 2
Genin
Rickety Effigy [Dankai Ni Nainkyuusha Hina]
At this stage, chakra strings can be attached to the puppet almost instantly, allowing the puppeteer to attack and defend in right after attaching the strings. The puppet's movements are swifter and more precise, as the user has acclimated himself to the technique and is now familiar with the hand movements that control the puppet. The user's control allows the strings to remain strong over a distance of about fifteen yards. |
Stage 3
Chuunin
The Still Face of the Porcelain Figurine [Dankai San Naomen no Yakimono Katachi]
At this level, the first major breakthrough is accomplished, as the character can now control two puppets simultaneously. One hand is used for each puppet, but the puppeteer is back to basic functional movements until he gets the hang of the new control scheme; though he can control one puppet with masterful speed and grace. Also at this level, the puppeteer gains the ability to hear sounds that are made within five yards of the puppet, though this sound is muted and will not transmit the effects of Sound techniques. The strings now maintain their strength at a distance of twenty yards.
Stage 4
Chuunin
The Swift Dance of the Marionette [Dankai Si Hayai Hitosashi no Marionetto]
As the puppeteer masters his art, he brings a few new benefits while further refining the old abilities. The puppeteer is beginning to understand the mechanics behind the technique, and can use a combination of mental commands and hand movements to enhance his control of both puppets. The strings now maintain their strength at a distance of twenty-five yards.
- Puppet Sensory System [Sacchi Keiretsu no Kugutsu]
The puppeteer can now close his eyes to see through the eyes of one of his puppets, allowing the puppeteer to battle at extreme range without having to physically see the fight itself. The Puppeteer can also choose to make himself deaf, that he might hear the sound in an area around one of his puppets. A failsafe in the technique (causing the strings to momentarily snap in the case of a chakra-laced sound) prevents sound jutsu from affecting the user through his puppet
Stage 5
Jounin
The Silent Song of the Mannequin [Dankai Go Mokumoku Kyuuei no Manukan]
This stage of the puppetry technique carries with it a new breakthrough; the ability to control 3 puppets at once. A greater understanding of the technique allows strings to not only be controlled through mundane pulling, but also through mental commands that manipulate the strings. This advanced control allows the puppeteer to control all three puppets with two hands (roughly three strings per puppet). The distance between the puppeteer and the puppets is now increased to thirty yards
Stage 6
Kage/Saanin
March of the Death Machine [Dankai Roku Sousoukoushinkyoku Zetsumei Kikai]
This level is considered by most to be the mastery of the Puppetry Technique. At this level, the user can control two puppets with a single hand, allowing a total of four puppets to be controlled. Additionally, puppets can now be controlled at a distance of thirty-five yards.
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Posted: Sun Nov 15, 2009 12:41 pm
The Rare and Beautiful Art of a Controlled Disaster
(Ippin Seichuu Sanji)
Hidden Grass official Taijutsu
The Ippin Seichuu Sanji was originally developed by slaves in Grass. It is marked by deft, tricky movements often played on the ground or completely inverted. It also has a strong acrobatic component to it.
This style is known for its fluid acrobatic play, where technique and strategy are the key points. The style is marked by the use of feints and subterfuge, and use groundwork extensively, as well as sweeps, kicks, and headbutts.
The acrobatic element to the style comes from the slaves who developed it being handcuffed almost all the time. With their hands in such restrained positions it was essential to learn how to use the legs in the most effective ways as to defeat the guards who watched over the slaves. Because of this the Ippin Seichuu Sanji has attacks that focus on leg based attacks, sweeps, and elbow strikes in place of hand strikes.
The hands though are not considered useless in this fighting style because many of the defensive moves of the style are based on being evasive and using rolls to avoid attacks instead of trying to block them. The hands are also a part of essential acrobatic movements such as cartwheels, handsprings, etc.
Academy
Stage1
Dakai Ichi
To properly learn this style the practitioner is forced to learn it the way it was made; while handcuffed. Normally during all of the spinning, constant movement, and acrobatic attacks the practitioner will want to flail out their arms in an attempt to balance themselves but with the handcuffs in place this becomes extremely difficult and very impractical so it forces the practitioner to learn how to balance themselves without their arms and hands. Not only does this require extreme precision and lots of practice it also demands a high amount of leg strength to perform properly but it is also because of these demands that the style itself becomes truly powerful.
Stage 2
Genin
Dakai Ni
Still handcuffed the practitioner switches his focus from controlling his movements and making them precise to making them much stronger. The practitioner learns to use gravity to their advantage and make their leg into a lever in which they place all of their weight onto creating leg strikes similar to that of a guillotine. Along with these stronger strikes the practitioner continues to strengthen their body so that it can deal with the complex system of movements that the Ippin Seichuu Sanji provides.
Stage 3
Genin
Dakai San
Now the practitioner starts to learn a larger range of strikes with the legs. Instead of focusing solely on high acrobatic kicks strengthened by weight and gravity they begin to learn the usefulness of swift and powerful attacks that are close to the ground. Without the aid of an outside force to strengthen these close to the ground attacks they focus on gaining more power from within not only in the legs but in the arms as well. In this stage the practitioner has learned the immense usefulness of their arms as balancers to keep the practitioner going on with their fluid strikes
Stage 4
Chuunin
Dakai Si
With the previous stages the practitioner has accumulated a lot of strength and power with his attacks which in turns creates the 'Disaster.' The disaster is when the practitioner has too much latent potential behind their attacks to control effectively. This stage focuses on controlling this disaster in order to make it less devastating to the practitioner and more much devastating to the opponent. The more the attacks are controlled the easier it is to go from one attack to the next fluidly
Stage 5
Chuunin
Dakai Go
After master combat from the air and from the ground the practitioner now focuses on fighting at a mid point, mainly attacking the abdomen of the opponent. The new, what are known as, 'mid-range' attacks require more upper body strength then in the previous levels because the practitioner now goes into a lot of handstands to attack and cartwheels to dodge. A simple way to practice strengthening the arms for this is to hold onto a pole in the ground and holding the body out at a ninety-degree angle from the pole. The practitioner must also work with their body so that they can bend and move at the extreme angles the 'mid-range' attacks call for.
Stage 6
Jounin
Dakai Roku
With the radical new attacks that come at the midrange point the practitioner once again goes back to try and make these attacks into more powerful versions of themselves. By gaining more power the practitioner is in a sense tipping the scales in favor of the disaster and not the control and though these attacks may not be as fluid as the others the practitioner has learned to work with the disaster to use it to their advantage when they have no other.
Stage 7
Special Jounin
Dakai Sichi
This is a new and pretty much the final plateau for the practitioners of the Ippin Seichuu Sanji. Reaching this point is marked with the removal of the handcuffs the practitioner has been bound to since the beginning of their training. Once removed the practitioner has a much wider range of movements they can work with training their upper bodies to twist and bend while still supporting the body. Not only does this sort of training require the increase in the fluidness of movement but it also requires a certain level of upper body strength to be used properly. This stage is often referred to as the Liberty stage because the practitioner is give back their freedom.
Stage 8
Kage
Dakai Hachi
The final and most useful stage in the Ippin Seichuu Sanji. In this stage the user takes everything they have learned about attacks and movements in the previous stages and ties them all together which exponentially increases the disaster but at this point the practitioner has the disaster under full control. With the ability to go from the guillotine like high attacks to the sword like midrange attacks to the top like low attacks and the ability to jump from one of these attacks to the next flawlessly the practitioner has become in all senses of the phrase a 'Controlled Disaster.'
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Posted: Sun Nov 15, 2009 12:43 pm
Magnetic Force
A New Way for Hidden Cloud
The discovery of magnets has been considered an ancient one. The ancient tools once used as compasses have now in the past hundred decades been discovered that they can be used to move and manipulate metals and even non-metal objects. In the past decades, people of the village Cloud have found a unique way to manipulate the metal through their own physical bodies, without using metal magnets at all. Through creating an electrical field throughout their bodies, people have found that it is possible to move metal. Through further study and training of this newfound technique, quite a few people have been able to further expand on the ability, increasing the range of their magnetic field to which they can control objects. Some have mastered the skill to a point where they can hurl objects at speeds of up to near equivalents to the speed of sound, but such instances are rare, as many still lack even basic control over their magnetic fields; only pure masters have been able to master this technique.
Users who employ this technique, however, must have good chakra molding abilities. Those with little chakra training will be unable to properly mould the chakra throughout their body to create the magnetic and electric fields. Consequently any meager attempt that an unskilled chakra user may perform could easily result in serious injury.
Weapons
Metal Sphere [Tama Metaru]
A small metal coated sphere that is filled with a solid but light metallic core. The ball is light enough for anyone to juggle, carry, and lift with ease without dragging down weight, weighting no more than 2-3 lbs on average. When thrown the ball can generally be used as a small weapon, though highly discouraged as they do minimal damage an at best will bruise an opponent.
Explosive Sphere Grenade [Tama Tekidan]
This weapon is very similar to a metal sphere in the respect that it normally weighs about the same and is coated with a metal shell. The unique exception is that these are instead filled also with gunpowder and explosive solid contents. When hit with electricity or heated up tremendously they will cause a small explosion requires Electromagnetic Fuse Creation skill | An electrical charge surrounds the sphere's surface, completing the circuit of the applied fuse when broken. |
Large Metal Sphere [Tama Metaru Kyo]
Generally not considered a weapon though it can be used in such a way if the user is strong or clever enough, this is a gigantic sphere of solid metal. Its large size prevents most from using it as a tool or weapon though it can be used practically as a magnet, anchor, and for extreme muscle conditoning for those who can bear its girth and mass.
Large Sphere Bomb [Tama Bakuyaku Kyo]
A massive explosive sphere coated with metal, this is what one may call the equivalent to several explosive sticks of TNT. However due to their large and heavy size, these objects require more strength to lift, carry and use and are not recommended for direct combat. Rather they are more often set and used a traps. Blast Radius 10-20ft | Requires Advanced Electromagnetic Fuse Creation skill to be used. | An electrical charge surrounds the sphere's surface, completing the circuit of the applied fuse when broken. |
Techniques
Academy:
Electromagnetic Force Field Skill [Hara Chikara Denji no Jutsu]
Those whom have studied and practiced the skills of drawing upon magnetic forces are able to summon an electrical. Summoning up a electromagnetic force field, the user can manipulate any metal objects within their field of control. The higher their intelligence, the farther they can spread the force field's distance and area of electromagnetic influence.
Genin:
Electromagnetic Propulsion Lv. 1 [Suishin Denji, Lv. 1]
By now the genin has been successfully able to create a stable and strong magnetic force field around them. The range at which they may control objects is still too low as it depends highly upon their force field's range of control.
Electromagnetic Barrier Lv. 1 [Shouheki Denji, Lv. 1]
This magnetic force field is used to generally deflect metal objects, but can barely deflect attacks; only the weakest physical attacks will be subdued by this shield. Due to the low strength, chakra control, and concentration generally required to keep the shield up it will not last long, nor be effective in blocking faster, stronger, and many non-metal objects. Should the user move from the location of the barrier it will easily be disrupted and possibly disabled.
Chuunin:
Magnetic Propulsion, Lv. 2 [Suishin Denji, Lv. 2]
Users of the magnetic jutsu by now have a moderate to strong control over their magnetic fields and the chakra. Thus they are more capable now of concentrating more electromagnetic energy into a fixed location at once and able to propel objects at faster speeds, causing greater impact and damage as well.
Electromagnetic Barrier Lv. 2 [Shouheki Denji, Lv. 2]
A stronger, thicker, and more magnetic barrier than the original genin level barrier, this barrier is actually capable of fending off some decently strong melee attacks and projectiles. It is considered a standard choice for defense among many electric based jutsu users. The user can move about farther out from the barrier but still will easily disrupt it if moving more than a couple steps away from it.
Electromagnetic Fuse Creation [Tatemono Kuchibi Denji]
Skilled enough people who have carefully studied and practiced on electromagnetism and mechanics are capable of creating small fuses and explosives which they can implant into a small metal sphere to make it an explosive. Must be made outside of battle
ANBU:
Magnetic Propulsion, Lv. 3 [Suishin Denji, Lv. 3]
A full control over the electromagnetic field and barrier around the user allows greater speeds of the target projectiles now inflicting greater impact and damage. Most warriors studying in this branch of combat are considered fully mastered at this stage.
Electromagnetic Barrier, Lv. 3 [Shouheki Denji, Lv. 3]
An intermediate skill based barrier, it provides average defense but will be unable to hold off against more powerful attacks. The user has above average control of their chakra, range, and the magnetic forces around them. The user can move slightly farther away from their barrier now without greatly disrupting it.
Jounin:
Magnetic Propulsion Lv. 4 [Suishin Denji, Lv. 4]
Only extremely dedicated practitioners of magnetic jutsu can reach this point of intensity. The user has become so skilled at molding their chakra and controlling the electromagnetic forces that they have practically become a human battery. The full force of the projectiles is so fast the user is practically flung back if not well footed or stable on the ground surface.
Electromagnetic Barrier Lv. 4 [Shouheki Denji, Lv. 4]
The protection that this shield can provide now is by far one of the most superior that a person could ask for. No small thrown shuriken, kunai, senbons, or metal objects can easily penetrate this shield. The user can now easily move a relatively far disatnce of over 15 feet away from the barrier without disrupting it.
Shield of Thunder [Tate no Ikazuchi]
Unlike a normal barrier, this technique creates a barrier only to shield a certain covered area near the user, behind, beside, above, below, in front and is used like a shield. However; to compensate for its lack of full cover, the shield is much more concentrated and powerful in the area it covers, making it much harder to penetrate than a normal barrier. Any metal projectiles will be deflected off the barrier on contact. Another advantage of the barrier is that the user can move freely anywhere with the barrier without disrupting it too much though excessive vibrating, running, and shaking can disable the barrier.
Advanced Electromagnetic Fuse Creation [Tatemono Kuchibi Denji Joukyuu]
Recommended only among the highly skilled mechanics, ninjas, and other people with knowledge in electromagnetism and mechanics, this technique creates a vastly large explosive that is primarily designed to be set off as a strategic explosive weapon and as a trap used commonly in the battlefields. Due to a vastly great amount of explosives that these weapons often carry and their often volatile dangers, even skilled handlers have to take caution at preparing these weapons and handling them, as they can easily set off at any given time if mishandled. The explosives and fuse se in the weapon are placed into a metal sphere, which is often unwieldy to handle. Must be made outside of battle and must first know Electromagnetic Fuse Creation skill | the explosive requires two posts to be properly prepared.|
S-Rank:
Magnetic Propulsion, Mastery [Suishin Denji, Taitoku]
Only the most select and skilled could possibly ever wield such a skill to focus an immense amount of electrical energy into concentrated areas. The overall speed and force of this technique are so great that at full capacity this technique can penetrate the sound barrier. Due to the great force and impact users will get pushed back and absorb a certain amount of the impact.
Electromagnetic Barrier, Mastery [Shouheki Denji, Taitoku]
Such an immense barrier is created from this technique that only the strongest of attacks will penetrate it. The pure concentration of the energy, its durability, and effectiveness in defense reflects a extremely refined mastery of magnetic jutsu that can only occur through many hard years of toil. The user can move freely over a wide distance of over 20 feet without disrupting the barrier.
Aegis of the Heavens [Yobousen no Tenjou]
A guard so powerful many consider it even impractical to try and penetrate such defensive wall. An overly immense concentration of electromagnetic energy and chakra makes this shield virtually impregnable. No metal can pass through this barrier. With such concentration of energy it is very hard to disrupt this barrier making it an ideal portable defense.
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Posted: Sun Nov 15, 2009 12:49 pm
Drunken Master Style: http://www.youtube.com/watch?v=ffQGz3DMoyQ
This style has been used all over the world: for anywhere there is a barroom brawl it is there. But the Lothars made it a style to be proud of, and because of their chakra, can prefor it even when "sober".
Academy
Stage 1
Dakai Ichi
First the practitioner must learn to hold ones booze effectively. They work on stability while drinking large amounts and movement in circles. The practitioner is taught basic strikes: as he will have a hard time at this point.
Gennin
Dakai Ni
The practitioner is instructed again and again to think outside the box. The style is all about fluidity. The idea to hit several times before a large strike is reinforced. Several strikes are introduced and alot of work on flexibility.
Dakai San
Learns Rank one of Tetsu jousei kobushi
The practitioner is taught about rolling with the punches. The stumbling that is a staple of the style begins at this stage. Because of the relaxed state of the muscles when drunk, the practitioner can take several flooring punches and keep fighting.
Chuunin
Dakai Si
The practitioner uses what he learned about effectively taking blows to learn the various ground strikes, mostly kicks and flipping along the ground.
Dakai Go
Learns Rank two of Tetsu Jousei Kobushi
The practitioner can bend at unearthly angles, holding their upper body parallel to the ground and perpendicular to their lower half is easy for them. This opens up the variety of strikes one can use.
Jounin
Dakai Roku
Learns Rank three of Tetsu Jousei Kobushi
The practitioner can flip about through the air like the first drunken masters, the monkeys. They can attack numerous times with their lightning fast strikes. Almost any taijutsu without a cover can be countered and blocked at this point.
Saanin/Kage
Dakai Sachi
Learns Final rank of Tetsu Jousei Kobushi
The practitioner gives Enma a run for his money. The chakra turns to a dark brown, almost black but not quite, which as it radiates out from the practitioner turns white (like the bubbles on the head of an imperial stout).
These are the masters and without some sort of upper hand in taijutsu, nothing can out maneuver them
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Posted: Sun Nov 15, 2009 12:58 pm
[ Message temporarily off-line ]
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Posted: Mon Dec 28, 2009 11:47 am
The 8 Drunken Gods
After attending numerous gatherings with the various spirit courts of Creation, the inventor of this style was inspired by the manner and actions of various little gods while they were intoxicated. This style relies and emphasizes on deception and confusion. It is a versatile Art, which is just as useful by itself, or in conjunction with other styles. As the artist progresses, he learns the style's eight techniques. Each technique is named after the little god whom influenced it. After learning the basic techniques, the practitioner of Eight Drunken Gods Style finds it necessary to consume large quantities of alcohol in order to perform specific movements, which a sober mind and body are not capable of. This consusmption is only required to properly execute the more advanced techniques, which are patterned after some of the spirit world's more notorious drunkards.
The Drunken Boxing Form is the personification of confusion and deception. The key to drunken boxing is making your opponent believe that they are winning; then retaliating with unexpected power. At this stage he understands how to use his own intoxicated state to his advantage. With drunken boxing, he uses aspects of the drunken gods and improvises a new kata for each new fight. He never stands completely still, having an intoxicated tremor, while the gait between his legs constantly changes. His demeanor shifts from every sort of drunken behavior possible, from angry, to sleep deprived, pissed, and so forth. Drunken boxers often carry a flask of liquor and consume from it while engaged in combat.
It consists of three basic movements: drinking movements (hand techniques); waist movements (dodging); and falling movements (dodging and attacking). These relatively simple moves though, mask powerful ways to disable unsuspecting opponents.
When drunken stylists reach for another swig from their wine cups, they are really demonstrating grabbing and striking techniques. These often involve wrist holds and then an attack with the hand holding the imaginary wine cup. These attacks are directed against sensitive pressure points and the opponent's center.
In contrast, waist movements trick opponents into thinking that practitioners are off balance and thus vulnerable to attacks. Drunken style martial artists will sway from side to side, almost falling over at times. Yet these moves double as dodges, preventing the opponent from landing strikes and attacking successfully.
Finally, falls make up the remaining moves of the drunken form. While some falls serve as dodges just like waist movements, they can also trap opponents. Once a drunken stylist pins an opponent to the ground with a fall, he or she can assault critical points and areas.
The drunken style is very freeform and with little effort the movements may be passed onto other styles of taijutsu, increasing the effectiveness of the other forms.
Stage One: The God Lu: The Drunkard with Internal Strength
By mimicking drunken Lu, the artist's body sways and bends unpredictably. He stumbles and twitches, moving swiftly and slowly at random intervals. This deception makes striking the artist much more difficult. The artist is taught to know that by making it seem they are losing, they will win.
Stage Two: The God Li: The Drunken Cripple with a powerful right leg
This stage instructs the artist on using their left leg as nothing more then a way to move through the style. The right leg become extremely powerful as do the fists. In most leg strikes with his style the right leg is used to steady the artist of hold him up as he strikes with the left leg. The right leg is used for all spins and flips so the left may be used for strikes. The balance of the artist must be practiced at this point, for even though they seem to sway, everything is under control.
Stage Three: The God Fat Han: The Drunkard holding a pot in his arms.
The artist mimics a fat god carrying a large keg of ale. The both arms are left extended as he artist moves about with his back haunched over as if the imaginary weight held him down.The fists move in unison for powerful strikes and quick blocks.His movement is without rhythm, or fluid motion, yet he remains incredibly sturdy. He appears happy and blissfully ignorant while carrying the imaginary barrel.
Stage Four: The God Lan: The Drunkard with the sudden deadly waist attack
The artist's hands mimic holding glasses of hard liquor. Wincing and performing like an aristocratic snob, he makes toasts to himself and his opponents loss. As he drinks from the imaginary cups he strikes his opponent with blinding speed while giving no indication of his intended strike. The swiftness of the strikes may not even be seen by speed ninja as too many are delivered in quick succession.
Stage Five: The God Chung: The Drunkard with the swift double kicks
When this stance is used charka begins to dance over the muscles of the artist. The main chakra element is used for this. The blinding speed of the fists moves onto both legs, even though only the right will cause the real damage, now even the left will do some damage. The artist has the ability at this point to instantly recreate his last couple movements (within the last 3 of his posts). This attack confuses those with doujutsu as it appears from nowhere. The attack may be blocked if the opponent is fast enough, but few but Senbi are. This counts as a Chuunin level jutsu for amount of chakra spent and may only be used 1 every three posts. Larger flips are used in this stage and falling does little to hurt the artist as the body readies and compensates for the blow from striking the ground.
Stage Six: The God Tso: The Drunkard with the powerful throat lock
This stage causes the artist to act like a belligerent drunk. His eyes wince and his muscles tense noticeably. The fists become very powerful, breaking tempered steel with some ease as the blocks become lighting fast and steadfast enough to stop the brunt of even some Jounin jutsu.
Stage Seven: The God Han: The Drunkard flute player with the powerful wrists
The hands move as if a large wooden flute was held within their grasp. They move some force about as the artist plays a silent tune, and with some mysterious power; turn enemy strikes back at them, even enemy missiles may be deflected.
Stage Eight: The God Miss Ho: The Drunken Woman flaunting her body
The artist performs a bizarre dance of sorts, stumbling about like a drunken barmaid. The artist teases and flirts with his enemy, leaving what seems to be an opening in his defense before snatching away what appeared to be victory with a powerful attack. This stage can confuse an opponent and cause the enemy to begin to question themselves as to why they are fighting. Roll a d10, (1-10 if equal level, 2-10 if one rank lower, 3-10 if two ranks...etc.) if a 10 is rolled (or 9-10, 8-10 etc with rank) the opponent stops for one post wondering what they were doing.
Coren Lothar is the only master of The 8 Drunken Gods at the moment, and as such is the only one that may teach it. Others may stumble about on their feet and try to fight like he does, but they are fools to think they understand the divine style of the Immortal Drunks
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