#⊗ ; kendōka.

[ravenkult]

Kendōka Monkey - 3D Print by Pau Peñalver https://www.artstation.com/artwork/aYykOq

[tilltheendwilliwrite]

To Make You Feel My Love

Chapter Eleven

Master List  |  Series Master List

Previous Chapter

Pairing: Mori x Haruhi  |  Word Count: 10,268

Haruhi stood flushed with both happiness and embarrassment as Takashi left, allowing Hikaru his chance to pounce. He grabbed her around the waist, spun her in a tight circle and set her back on her feet before she had a chance to shriek, leaving her gasping when she landed.

He cupped her face between both hands and smooshed her cheeks. "You worry too much." 

His grin was smug, knowing, and had her sticking her tongue out at him. "And you're a meddler, you both are," she grumbled when Karou joined his brother before giving them an earnest, heartfelt, "Thank you."

"You'd a done it for us," Hikaru muttered, hugging her again.

Karou tugged her from his embrace and hugged her swiftly. "Be happy, Haruhi."

She held on tight. "I am." Their tall kendōka was all she'd ever wanted.

Hikaru pulled her from his brother and thrust her into the chair. "Enough with the mushy stuff. Karou face, me hair, you sit." 

Haruhi sighed softly, sat, and shut her eyes. Tonight had turned out perfect. 

A few minutes away from Takashi would help settle her scattered emotions if she could only get her mind off of his mouth and just what he could do with those lips. She could still feel the lingering pressure they had created on the back of her neck and wondered if he'd found the paint pleasing. 

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[weroyals]

—  never  forget  that  Taka  is  incredibly  strong.    he  trains  daily  in  kendō  as  his  most  notable  hobby,      &    each  morning  he  practices  yoga  before  school.    he  pours  himself  into  his  physical  wellbeing  with  the  same  dedication  he  applies  to  his  education    &    to  his  moral  strength.    he's  an  exceptional  kendōka    &,    despite  his  appearances    &    his  disdain  for  violence,    actually  excels  in  hand  —  to  —  hand  combat.    moreover,    he  can  even  lift  someone  as  big  as  Mondo  up,    despite  being  smaller  than  he  !!

[zensblogstuff]

Kendo

Equipment and clothing

Kendo is practiced wearing a traditional Japanese style of clothing, protective armor (防具, bōgu) and using one or, less commonly two, shinai (竹刀, shinai).

Shinai (竹刀)

Bokutō (木刀)

Men (面)

Dō (胴)

Tare (垂れ)

Kote (小手)

Equipment

The shinai is meant to represent a Japanese sword (katana) and is made up of four bamboo slats which are held together by leather fittings. A modern variation of a shinai with carbon fiber reinforced resin slats is also used.

Kendōka also use hard wooden swords (木刀, bokutō) to practice kata.

Kendo employs strikes involving both one edge and the tip of the shinai or bokutō.

Protective armor is worn to protect specified target areas on the head, arms, and body. The head is protected by a stylized helmet, called men (面), with a metal grille (面金, men-gane) to protect the face, a series of hard leather and fabric flaps (突垂れ, tsuki-dare) to protect the throat, and padded fabric flaps (面垂れ, men-dare) to protect the side of the neck and shoulders. The forearms, wrists, and hands are protected by long, thickly padded fabric gloves called kote (小手). The torso is protected by a breastplate (胴, dō), while the waist and groin area are protected by the tare (垂れ), consisting of three thick vertical fabric flaps or faulds.

Clothing

The clothing worn under the bōgu comprise a jacket (kendogi or keikogi) and hakama, a garment separated in the middle to form two wide trouser legs.

A cotton towel (手拭い, tenugui) is wrapped around the head, under the men, to absorb perspiration and provide a base for the men to fit comfortably.

Modern practice

Kendo training is quite noisy in comparison to some other martial arts or sports. This is because kendōka use a shout, or kiai (気合い), to express their fighting spirit when striking. Additionally, kendōka execute fumikomi-ashi (踏み込み足), an action similar to a stamp of the front foot, during a strike.

Like some other martial arts, kendōka train and fight barefoot. Kendo is ideally practiced in a purpose-built dōjō, though standard sports halls and other venues are often used. An appropriate venue has a clean and wooden sprung floor, suitable for fumikomi-ashi.

Kendo techniques comprise both strikes and thrusts. Strikes are only made towards specified target areas (打突-部位, datotsu-bui) on the wrists, head, or body, all of which are protected by armor. The targets are men, sayu-men or Yoko-men (upper, left or right side of the men), the right kote at any time, the left kote when it is in a raised position, and the left or right side of the dō. Thrusts (突き, tsuki) are only allowed to the throat. However, since an incorrectly performed thrust could cause serious injury to the opponent's neck, thrusting techniques in free practice and competition are often restricted to senior dan graded kendōka.

Once a kendōka begins practice in armor, a practice session may include any or all of the following types of practice:

Kirikaeshi (切り返し)

Striking the left and right men target points in succession; practicing centering, distance, and correct technique while building spirit and stamina.

Waza-geiko (技稽古)

Waza or technique practice in which the student learns and refines the techniques of kendo with a receiving partner.

Kakari-geiko (掛稽古)

Short, intense, attack practice which teaches continuous alertness and readiness to attack, as well as building spirit and stamina.

Ji-geiko (地稽古)

Undirected practice where the kendōka tries all that has been learned during practice against an opponent.

Gokaku-geiko (互角稽古)

Practice between two kendōka of similar skill level.

Hikitate-geiko (引立稽古)

Practice where a senior kendōka guides a junior through practice.

Shiai-geiko (試合稽古)

Competition practice which may also be judged.

Techniques

Techniques are divided into shikake-waza (to initiate a strike) and ōji-waza (a response to an attempted strike). Kendōka who wish to use such techniques during practice or competitions often practice each technique with a motodachi. This is a process that requires patience. The kendōka and motodachi practice the technique slowly at first; as familiarity and confidence build, they increase the speed to the level used in matches and competitions.

Shikake-waza

These attack techniques are used to create an opening in an opponent by initiating an attack, or striking boldly when the opponent has created an opening. Such techniques include:

Tobikomi-waza

This is a technique used when one's opponent has weak kisei (spirit, vigor) or when they yield an opening under pressure. Always hold kisei and strike quickly.

Hikibana-waza

Body and shinai will lose balance as the initiator strikes or when being attacked. This technique takes advantage of this to help execute a strike. A good example is Hikibana-kote when a strike is made to an opponent's kote as they feel threatened and raise their kensen as the initiator pushes forward.

Katsugi-waza

This provides a surprise attack by lifting the shinai over the initiator's shoulder before striking. Here a skillful use of the kensen and spirited attack is crucial for effective katsugi-waza or luring the opponent into breaking their posture.

Nidan-waza

There are two types. The first is for moving to the next waza after a failed first strike, and the second holds the opponent's attention and posture to create the opening for a second strike. The former requires a continuous rhythm of correct strikes. The latter requires continuous execution of waza, to take advantage of the opponent's opening.

Harai-waza

This can be used if one's opponent's stance has no opening when the opponent tries to attack. The opponent's shinai is either knocked down from above or swept up from below with a resulting strike just when their stance is broken.

Debana-waza

This technique involves striking the opponent as they are about to strike. This is because their concentration will be on striking and their posture will have no flexibility to respond. Thus debana-waza is ideal. This can be to any part of the opponent's body, with valid strikes being: debana-men, debana-kote, and debana-Tsuki.

Oji-waza

These counter-attack techniques are performed by executing a strike after responding or avoiding an attempted strike by the opponent. This can also be achieved by inducing the opponent to attack, then employing one of the Oji-waza.

Nuki-waza

Avoiding an attack from another, then instantly responding. Here, timing has to be correct. A response that is too slow or fast may not be effective. Therefore, close attention to an opponent's every move is required.

Suriage-waza

If struck by an opponent's shinai, this technique sweeps up their shinai in a rising-slide motion, with the right (ura) or left (omote) side of the shinai. Then strike in the direction of their shinai, or at the opening resulting from their composure's collapse. This technique needs to be smooth. That is, don't separate the rising-slide motion and the upward-sweeping motion or it will not be successful. Valid strikes include: men-suriage-men, kote-suriage-men, men-suriage-do, kote-suriage-kote, and Tsuki-suriage-men.

Uchiotoshi-waza

This waza knocks an opponent's shinai to the right or left. This neutralises a potential strike and gives the ideal chance to strike as an opponent is off-balance. For success, the distance between oneself and the opponent has to be correctly perceived, and then one knocks down their shinai before their arm fully extends. Valid strikes include: do-uchiotoshi-men and Tsuki-uchiotoshi-men.

Kaeshi-waza

This technique is a response. As the opponent strikes, the opponent parries their shinai with the initiator's. They then flip over (turn over the hands) and strike their opposite side. Valid strikes include: men-kaeshi-men, men-kaeshi-kote, men-kaeshi-do, kote-kaeshi-men, kote-kaeshi-kote, and do-kaeshi-men.

Rules of Competition

A scorable point (有効打突, yūkō-datotsu) in a kendo competition (tai-kai) is defined as an accurate strike or thrust made onto a datotsu-bui of the opponent's kendo-gu with the shinai making contact at its datotsu-bu, the competitor displaying high spirits, correct posture and followed by zanshin.

Datotsu-bui or point scoring targets in kendo are defined as:

Men-bu, the top or sides of the head protector (sho-men and sayu-men).

Kote-bu, a padded area of the right or left wrist protector (migi-kote and hidari-kote).

Do-bu, an area of the right or left side of the armour that protects the torso (migi-do and hidari-do).

Tsuki-bu, an area of the head protector in front of the throat (Tsuki-dare).

Datotsu-bu of the shinai is the forward, or blade side (jin-bu) of the top third (monouchi) of the shinai.

Zanshin (残心), or continuation of awareness, must be present and shown throughout the execution of the strike and the kendōka must be mentally and physically ready to attack again.

In competition, there are usually three referees (審判, shinpan). Each referee holds a red flag and a white flag in opposing hands. To award a point, a referee raises the flag corresponding to the color of the ribbon worn by the scoring competitor. Usually, at least two referees must agree for a point to be awarded. Play is stopped after each point is awarded.

Kendo competitions are usually a three-point match. The first competitor to score two points, therefore, wins the match. If the time limit is reached and only one competitor has a point, that competitor wins.

In the case of a tie, there are several options:

Hiki-wake (引き分け): The match is declared a draw.

Enchō (延長): The match is continued until either competitor scores a point.

Hantei (判定): The victor is decided by the referees. The three referees vote for victor by each raising one of their respective flags simultaneously.[41]

Important kendo competitions

The All Japan Kendo Championship is regarded as the most prestigious kendo championship. Despite it being the national championship for only Japanese kendōka, kendo practitioners all over the world consider the All Japan Kendo Championship as the championship with the highest level of competitive kendo. The World Kendo Championships have been held every three years since 1970. They are organised by the International Kendo Federation (FIK) with the support of the host nation's kendo federation.  The European championship is held every year, except in those years in which there is a world championship.  Kendo is also one of the martial arts in the World Combat Games.

World Kendo Championship

The World Kendo Championship are an international kendo competition contested by the member nations of the International Kendo Federation (FIK). The championships have been conducted every three years since their inception in 1970. The host of the tournament usually rotates in order through the three FIK administrative regions of Asia, the Americas and Europe.

The competition is divided into four divisions: Men's Individual, Women's Individual, Men's Team, Women's Team. Team matches are individual between five members from each team which change sequentially at the end of each round.

Advancement

Grades

Technical achievement in kendo is measured by advancement in grade, rank or level. The kyū (級) and dan (段) grading system, created in 1883, is used to indicate one's proficiency in kendo. The dan levels are from first-dan (初段, sho-dan) to tenth-dan (十段, jū-dan). There are usually six grades below first-dan, known as kyu. The kyu numbering is in reverse order, with first kyu (一級, ikkyū) being the grade immediately below first dan, and sixth kyu (六級, rokkyū) being the lowest grade. There are no visible differences in dress between kendo grades; those below dan-level may dress the same as those above dan-level.

In Japan, kyu ranks are generally held by children. The exam for 1st kyu (ikkyū) is often their first exam and grade. Adults generally will do their 1st dan (shodan) as their first exam.  In most other countries outside of Japan, kendoka go through every kyu rank before being eligible for dan ranks.

Eighth-dan (八段, hachi-dan) is the highest dan grade attainable through a test of physical kendo skills. In the AJKF, the grades of ninth-dan (九段, kyū-dan) and tenth dan (十段 (jū-dan)) are no longer awarded, but ninth-dan kendōka are still active in Japanese kendo. International Kendo Federation (FIK) grading rules allow national kendo organisations to establish a special committee to consider awarding these grades. Only five now-deceased kendōka were ever admitted to the rank of 10th-dan following the establishment in 1952 of the All Japan Kendo Federation.

All examination candidates face a panel of examiners. A larger, more qualified panel is usually assembled to assess the higher dan grades. Kendo examinations typically consist of jitsugi, a demonstration of the skill of the applicants, Nihon Kendo Kata, and a written exam. The eighth-dan kendo exam is extremely difficult, with a reported pass rate of less than 1 percent.

Requirements for dan grade examination within FIK affiliated organisations

Titles

Titles (称号, shōgō) can be earned in addition to the above dan grades by kendōka of a defined dan grade. These are renshi (錬士), kyōshi (教士), and hanshi (範士). The title is affixed to the front of the dan grade when said, for example renshi roku-dan (錬士六段). The qualifications for each title are below.

Kata

Main article:

Kendo Kata

Kata are fixed patterns that teach kendōka the basic elements of swordsmanship. The kata include fundamental techniques of attacking and counter-attacking, and have useful practical application in general kendo. There are ten Nihon Kendō Kata (日本剣道形). These are generally practiced with wooden swords (木刀, bokutō or bokken). Occasionally, real swords or swords with a blunt edge, called kata-yō (形用) or ha-biki (刃引), may be used for display of kata.

All are performed by two people: the uchidachi (打太刀), the teacher, and shidachi (仕太刀), the student. The uchidachi makes the first move or attack in each kata. As this is a teaching role, the uchidachi is always the losing side, thus allowing the shidachi to learn and to gain confidence.

Kata one to seven are performed with both partners using a normal length wooden sword. Kata eight to ten are performed with uchidachi using a normal length weapon and shidachi using a shorter one (kodachi).

The forms of the Nihon Kendō Kata (日本剣道形) were finalized in 1933 based on the Dai nihon Teikoku Kendo Kata, composed in 1912. It is impossible to link the individual forms of Dai nihon Teikoku Kendo Kata to their original influences, although the genealogical reference diagram does indicate the masters of the various committees involved, and it is possible from this to determine the influences and origins of Kendo and the Kata.

In 2003, the All Japan Kendo Federation introduced Bokutō Ni Yoru Kendō Kihon-waza Keiko-hō (木刀による剣道基本技稽古法), a set of basic exercises using a bokuto. This form of practice is intended primarily for kendōka up to second dan (二段, ni-dan), but is very useful for all kendo students who are organized under FIK.

Kata can also be treated as competitions where players are judged upon their performance and technique.

National and international organizations

Many national and regional organizations manage and promote kendo activities outside Japan. The major organizing body is the International Kendo Federation (FIK). The FIK is a non-governmental international federation of national and regional kendo organisations. An aim of the FIK is to provide a link between Japan and the international kendo community and to promote and popularize kendo, iaido and jodo. The FIK was established in 1970 with 17 national federations. 

[ericmathias]

Grace Hina Lee, Logitech from Eric Mathias on Vimeo.

Grace Hina Lee of Logitech will be joining us April 1.

Grace is the head of design in the Mobility and Education group at Logitech.

She directs a multidisciplinary design team that consists of industrial, UX, CMF designers, as well as design researchers.

Her team works closely with the rest of the business group which includes the marketing, engineering, and product development departments to produce the best computer peripherals. Logitech has a broad portfolio that includes mice, keyboards, webcams, microphones, audio products and other accessories. The design process covers the entire gamut, from initial user immersion, concepting the big idea, designing the product experience, through to technical development.

Grace is a surfer, an accomplished kendōka participating in international kendo competitions, and a graduate of Art Center College of Design with a background in industrial design. She has prior experience at Samsung, Astro Studios, and more.

[ramenrulz8p]

Dramarama-Monsta X: Timelines Explained (sorta)

[DISCLAIMER: These are my assumptions so I could be wrong af. I also demand a complete version cause wtf happened to Changhyuk. Pardon the mess, this was rush work and it’s some unholy hour for me]

Wonho travels from 2047 to the past (which I’m going to assume is 2017), where Shownu is. Both of them are kendōka who seem to have found an equal match or rival in each other. (In Wonho’s room in the future, you can find multiple shinai (the bamboo swords) and men (the helmets)). 

(This is the time on the watch that was on Wonho when the Men in Black came for him. I can’t read the time on it for the life of me.)

Kihyun goes back from 2017 to 2015. Jooheon was Kihyun’s friend who died in a car accident after dropping him off. Kihyun tried to save Jooheon himself but kept failing, so he finally asked Hyungwon to fix it, which caused Kihyun to die instead creating a new timeline (probably why everyone is hunting for Hyungwon in the future).

Minhyuk goes either from 2017 or to 2017 (my guess is from 2017 to an unspecified time probably in the past) but this happened after Hyungwon helped Kihyun because there is news of Hyungwon (given by the newspaper the dude in Minhyuk’s cafe was reading). It is unclear of what happened to Changkyun and why the two childhood best friends are no longer together.

The watch Hyungwon is working on is set to 2017 so I’m going to guess that all of the stories intersect at 2017.

[marsjapanmantasvenskunas]

Martial Arts

Kendo is a traditional  Japanese martial art, which descended from swordsmanship (kenjutsu) and uses bamboo swords (shinai) and protective armour (bōgu). Today, it is widely practiced within Japan and many other nations across the world.

Kendo is an activity that combines martial arts practices and values with strenuous sport-like physical activity.

Swordsmen in Japan established schools of kenjutsu (the ancestor of kendo), which continued for centuries and which form the basis of kendo practice today. The formal kendo exercises known as kata were developed several centuries ago as kenjutsu practice for warriors. They are still studied today, in a modified form.

Practitioners of kendo are called kendōka, meaning "someone who practices kendo", or occasionally kenshi, meaning "swordsman". The old term of kendoists is sometimes used.

Sumo is a form of competitive full-contact wrestling where a rikishi (wrestler) attempts to force his opponent out of a circular ring (dohyō) or into touching the ground with any body part other than the soles of his feet (usually by throwing, shoving or pushing him down).

The sport originated in Japan, the only country where it is practiced professionally. It is considered a gendai budō, which refers to modern Japanese martial art, but the sport has a history spanning many centuries. Many ancient traditions have been preserved in sumo, and even today the sport includes many ritual elements, such as the use of salt purification, from Shinto.

Life as a wrestler is highly regimented, with rules regulated by the Japan Sumo Association. Most sumo wrestlers are required to live in communal sumo training stables, known in Japanese as heya, where all aspects of their daily lives—from meals to their manner of dress—are dictated by strict tradition.

From 2008 to 2017, a number of high-profile controversies and scandals rocked the sumo world, with an associated effect on its reputation and ticket sales. These have also affected the sport's ability to attract recruits. Despite this setback, sumo's popularity and general attendance has rebounded due to having multiple yokozuna (or grand champions) for the first time in a number of years and other high-profile wrestlers such as Endō and Ichinojō grabbing the public's attention.

Karate is a martial art developed in the Ryukyu Kingdom. It developed from the indigenous Ryukyuan martial arts under the influence of Kung Fu, particularly Fujian White Crane. Karate is now predominantly a striking art using punching, kicking, knee strikes, elbow strikes and open-hand techniques such as knife-hands, spear-hands and palm-heel strikes. Historically, and in some modern styles, grappling, throws, joint locks, restraints and vital-point strikes are also taught. A karate practitioner is called a karateka.

The Empire of Japan annexed the Ryukyu Kingdom in 1879. Karate came to the Japanese archipelago in the early 20th century during a time of migration as Ryukyuans, especially from Okinawa, looked for work in Japan. It was systematically taught in Japan after the Taishō era of 1912-1926. In 1922 the Japanese Ministry of Education invited Gichin Funakoshi to Tokyo to give a karate demonstration. In 1924 Keio Universityestablished the first university karate club in mainland Japan, and by 1932 major Japanese universities had karate clubs. In this era of escalating Japanese militarism, the name was changed – both of which are pronounced karate in Japanese – to indicate that the Japanese wished to develop the combat form in Japanese style. After World War II, Okinawa became (1945) an important United States military site and karate became popular among servicemen stationed there.

The martial-arts movies of the 1960s and 1970s served to greatly increase the popularity of martial arts around the world, and English-speakers began to use the word karate in a generic way to refer to all striking-based Asian martial arts. Karate schools began appearing across the world, catering to those with casual interest as well as those seeking a deeper study of the art.

Aikido is a modern Japanese martial art developed by Morihei Ueshiba as a synthesis of his martial studies, philosophy and religious beliefs. Ueshiba's goal was to create an art that practitioners could use to defend themselves while also protecting their attackers from injury. Aikido is often translated as "the way of unifying life energy” or as "the way of harmonious spirit".

Aikido's techniques include: irimi (entering), and tenkan (turning) movements (that redirect the opponent's attack momentum), and various types of throws and joint locks.

Aikido derives mainly from the martial art of Daitō-ryū Aiki-jūjutsu, but began to diverge from it in the late 1920s, partly due to Ueshiba's involvement with the Ōmoto-kyō religion. Ueshiba's early students' documents bear the term aiki-jūjutsu.

Ueshiba's senior students have different approaches to aikido, depending partly on when they studied with him. Today, aikido is found all over the world in a number of styles, with broad ranges of interpretation and emphasis. However, they all share techniques formulated by Ueshiba and most have concern for the well-being of the attacker.

[hwaryungrp]

SPOTTED! KIM EUNGYEONG . 26.

Looks like they’ve been wandering around Hwaryung! You can find them living at HOUSE #1101 IN BYEONGRO or if they’re not home they’re probably working AS A KUMDO ATHLETE. If you can’t find them offline, feel free to message them @eungyk.

BIOGRAPHY

18th June 1992, Sendai, Japan.

The air almost filled with an upcoming summer breeze, and sun’s peeking through a cloud with blue painted all over the sky. A son is born, with Kindness, Mercy, and Honour printed on his name, in hopes by loving parents that he will bring this legacy until the very last of his breath. With the name, Kim Eun Gyeong. It was a beautiful day to greet the only son of Kim Hwi Chae and Kim Yoon Hee; a father who works in a private equity as a financial advisor and a mother who put her heart fully in cultural community exchange between Japan and Korea, retired as a Gayageum artist recently to deliver her only son. Smiles painted on their faces as Eun Gyeong cried for the first time, and slowly fell asleep in such a deep comfort as soon as his soft skin touches his mothers’. 

Eun Gyeong spent his childhood growing up in Sendai, Japan; and definitely environment plays a huge role in shaping Eun Gyeong as an individual. Raised in a strict environment made Eun Gyeong grow into a well-mannered young boy with aspirations to be just like his father, a successful businessman. So he diligently study in school, achieving academic awards and scholarships, active in school community club (encouraged by his mother, of course) and become like the golden child every parents would want to. Looking by how determined he is, his parents decided to put him into a Kendo Club in school, knowing that Eun Gyeong might have a potential in the art of sword play, judging by how focused and collected he is as a person, not minding his young age. And that’s how Eun Gyeong found his spark of joy, igniting a fire in his heart as his hands are moulded together as soon as fingers gripped the shinai (bamboo sword). His father noticed how Eun Gyeong starts to love the art of sword play, also his mother encouraged him to join school competitions. Starting small in the school competitions, summer sports festivals, slowly but surely, building his confidence in the field. Until one day, Eun Gyeong is trusted enough to join the region-wide Kendo competition all across Sendai as one of the youngest kendōka. 

Everything was in the right places for the young Eun Gyeong, it seems like he could hold the world on his hands at that point of time; yet we never know how uncertain the future would be.

—

At the age of 15, Eun Gyeong is forced to move back to South Korea after spending most of his entire childhood back in Japan because his father’s business partner decided to terminate his working visa as the business didn’t go well at that year. It was tough for him, to leave everything behind, from friends, his Kendo team, but nevertheless, he followed suit. He started a clean slate, new school, new environment, new neighbourhood. His sensei back in Sendai recommended him to both to Daehan Kumdohoe (The Korea Kumdo Association, 대한검도회) and KKA to give him opportunity to train once more in South Korea. He agreed to join under the association as they gave him chances to compete as a young Kumdo athlete and opportunity to gain a scholarship. His parents saw the determination in Eun Gyeong’s eyes and they proceed to let him chose what he wants in his life for now. Eun Gyeong’s teenage life is filled now only with school studies and Kumdo training. It was hard for him to open up to a new environment, and his new school— they saw Eun Gyeong as a loner. He hardly opens up to anyone and not being able to communicate well as he is used with Japanese, plus he saw them merely as distraction. At some point of time, they ganged up on Eun Gyeong, calling him names, yet he kept silent and moved on. “It’s just a waste of time to deal with them.” He always said that whenever he came home with bruises on his face as his mother tend on the small scars and the blueish bruises. Months passed by; and things starts to crumble from his grip.

Everything started when Eun Gyeong found his father came home with a drunk state, it seems like months of being unemployed took a toll on him. At first, he let things slide as his father didn’t do anything but to sleep on the floor and mumbling incoherent words, yet his mother always taking care of him every single time this happened. Another night, Eun Gyeong went home a little bit later than usual from his Kumdo training and bumped into his own father, being close to a younger woman on their way back. He couldn’t do anything as he froze in shock at that view, yet his knuckles turned white with anger building up inside of him; still, his mother waited for both of them to come home safely with open arms and loving smile, not knowing that Eun Gyeong saw something that might turn the house into a hell-hole. It goes from days to months, until one night changed the fate of the family. Eun Gyeong always been a light sleeper, one night he was woken up by a loud crashing noise— similar to a glass that’s being broken. Eyes widen in shock as he saw his father, gripping tightly onto a broken soju bottle with his mother kneeling down in fear as her hands trembled picking up the broken shards. He saw his father starting to kick his mother, curse words slurred out from that poisoned mouth, and at the second Eun Gyeong couldn’t take it anymore. Everything happened so fast, the only thing he remember is his bloodied knuckles, him standing in dark alleyway, heavy breathings escaped from his lips as his hand gripped tightly onto his bamboo sword, rage and disappointment clouded his mind, and his father on the ground, beaten and battered. “Don’t you dare to find us.” That was the last word he said to his on father, before returning home to his own mother, crying endlessly after that traumatic event. It made Eun Gyeong’s heart broke in pieces, determined to make his mother’s life better after what happened that night yet fear creeped behind him, scared what if he grew up just like his own father.

—

The only thing that kept him going and pushing through the tough times during his teenage year is the sport and academic scholarship; with that, he won’t put any burdens onto his mother’s shoulders with tuition fees as she’s now running a small bakery for their living. Staying at school until late, went to Kumdo practices until dawn breaks, helping his mother on the weekends at the flower shop. Sometimes his mother joked, “You don’t really have a social life, do you?” but all he could think of, is to do his best at this point of time to repay all the kindness that he mother gave to him, her sacrifices— he want to respect and honour his mother with all his achievements. Getting into Accounting major in Hwaryung Academic Institute with his sports scholarship, snatched gold medal in Kumdo nation-wide Tournament, and becoming one of the team members to represent Korea in World Kendo Championship during his final year in University. 

Things are back on track after 5 years of struggle and tough times, exactly right on Eun Gyeong’s plans; certified and registered as one of the national Kumdo athlete under Daehan Kumdohoe team, bought a house for both him and his mother, while sparing some time to help his mother as usual on the small, quaint bakery; that brought his life a little spark of joy besides Kumdo. 

We shall see what will the future brings for Eun Gyeong, as the universe might change the course— or not?

PERSONALITY

( + ) courteous, loyal, observant  ( - ) gullible, rigid, secretive