#sōjutsu

[itsmarjudgelove]

[konigbabe]

ORIGINAL CURSED TECHNIQUE: Aerial Void Manipulation

(created for my Kashimo x fem!sorcerer!reader story - READ HERE )

Aerial Void Manipulation (空虚操術 Kūkyo Sōjutsu) is an innate technique that allows the user to generate, shape and control a vacuum within a designated area.

Description

As the name suggests, Aerial Void Manipulation is a technique that grants the user the ability to control the density of their cursed energy and form a vacuum out of it. Initially, the vacuum creates an intense outward pressure from its center, pushing the object away and then sucks the matter back in to fill the void back up, creating a sort of push-and-pull effect resulting in an implosion.

The size of the vacuum is dependable on the user’s cursed energy output and level of training, mostly being the size of a fist, and generally has to be created in an enclosed space - between hands or, if using only one hand, with fingers bent into a bowl shape.

Extensions

Repulsive Fist (斥吸拳 Sekikyu Ken, lit. Rejection and Attraction Fist) - The user can imbue their technique into their fists which, when it comes to contact, creates the same push-and-pull effect 0.4 seconds after contact, essentially resulting in a double hit. However, the user is capable of imbuing this "technique" into other parts of their body such as their feet or head.

Aerial Blade (真空刃 Shinku Jin) - The capability to shape the vacuum into a sharp wind that can slice through air and space.

Unexplored possible ideas

*Maximum: Singularity Unleash (極ノ番 「偽真空」 Gokunoban・Gishinkū) - Based on the false vacuum decay theory and it's basically a self-destruct button. When creating vacuum fields, the user creates a space with absolute zero: no waves, no particles, nothing to elevate the energy above zero. (However, because the universe is governed by different energy levels, we have to consider that the absolute zero state isn’t actually the ground state, but there might be a “ground” state below zero.) Thanks to that idea, the user is capable of “tipping” their curse energy and creating a burst of energy that goes beyond the usual boundaries. This burst of energy disrupts the balance between the false vacuum and the true vacuum. By utilizing the "Singularity Unleash" Maximum Technique, the user essentially provides the necessary burst of energy that propels the surrounding vacuum fields "over the hump," triggering a transition from the false vacuum state to the true vacuum state. This shift ripples out from the user's originating event, spreading at nearly the speed of light.

CE special trait - The user's cursed energy exhibits qualities of an actual vacuum. When getting in contact with the user, the opponent feels a sensation of compression, as if being squeezed due to a fluctuation in pressure.

Grade

Would be considered Grade 1 (Special Grade if fully awakened and properly trained).

*This idea resembles Gojo's Hollow Purple . However, instead of traveling in the designated path, it spreads from the source (aka the user) and cannot be controlled. I'd say it's more similar to Yuki's black hole where she used her innate technique to transform into a black hole (essentially a suicide move). It's unexplored because while I did "create" it, I like to think that the user hasn't discovered this possibility yet.

[infinitetimes]

♡ ! INFINITETIME

Time Manipulation ( 時間 操術 Jikan Sōjutsu ) allows the sorcerer to stop time within a specific radius when in possession of a watch. Sera inherited this technique from her mother — however, due to her unstable cursed energy output that she never quite managed to regulate, she struggled to use it. At some point, she decided to try and live a ‘ normal life, ‘ but ended up accidentally injuring two of her classmates who bullied her.

Sera thus left her home and went on the run. She tried to leave Tokyo and escape to another town, but due to choosing a route that required her to use an abandoned train station, she stumbled across a cursed spirit, which attacked her.

Satoru was in the area, and his Six Eyes picked up on Sera’s unique cursed energy. He went to check out what was going on out of sheer curiosity, which ultimately resulted in him saving Sera from the curse and taking her to Jujutsu Tech. The Higher Ups planned on punishing her, however Satoru talked them out of it. Instead, Sera was taken in.

They did not get along all too well, at first. Satoru was low-key annoyed with Sera because she was complaining quite often about her unstable cursed energy and didn't think she'd ever be able to pull off anything. On top of that, she wallowed in self-pity over having lost control herself to the point of injuring people. However, with the help of Yaga-sensei’s teachings, Satoru’s support and Shoko’s patience, Sera slowly managed to get back on track.

Her and Satoru became best friends over time — they realised they understood each other pretty well ( which surprised Satoru, because he felt like Sera could see right through him at times ) and enjoyed spending time together. And after an awful lot of mutual yearning and pining, he confessed to her. ( separate fic coming soon hehe ! )

They trained together and aimed to become teachers. Sera did this because she wanted to aid Satoru in achieving his dream of revolutionising the Jujutsu Society — but also because she found herself growing rather fond of the idea of taking care of the students at Jujutsu Tech. However, because she wasn’t acknowledged by the Higher Ups yet, Sera needed to prove herself first.

After dating for approx. three years, Satoru proposed to Sera. They got married a year later. ( separate fic for this coming soon, too ! )

During the Night Parade of a hundred demons, which took place a few months later, Sera exorcised 300 curses within ten minutes ( one of them being a special grade ) and thus received a permit to teach — and was also granted the status ‘ special grade sorcerer. ‘

So, both Satoru and Sera work as teachers at Jujutsu Tech in-between going on missions to exorcise curses and keep the people of Japan save. Their lives tend to be rather hectic and chaotic, however both of them still manage to have enough time for themselves and their marriage.

Everything changes when the Shibuya Incident occured; Satoru was sealed away and Sera was on her own, expelled from the Jujutsu Society — but that is a story for another day !

―୨ ☾ ୧⋆ ˚ They have a height difference of 26cm. Sera is also a lightweight and Satoru just loves to call her his “ (cute) little wife ” and pick her up at all times, and for no reason whatsoever.

―୨ ☾ ୧⋆ ˚ If I had to sum up the dynamic; it’s basically that one couple who’s always clinging to each other non-stop.

―୨ ☾ ୧⋆ ˚ Both of them dislike alcohol and have a sweet tooth, however Satoru’s is far worse than Sera’s.

―୨ ☾ ୧⋆ ˚ They have the same sense of humour and enjoy teasing their co-worker Nanami Kento.

―୨ ☾ ୧⋆ ˚ They enjoy playing video games together ! Both of them are huge nerds.

―୨ ☾ ୧⋆ ˚ Sera is a Pokémon Fan and Satoru a Dogimon Fan. They sometimes have harmless arguments about which one is better.

―୨ ☾ ୧⋆ ˚ Something deep; Satoru feels like Sera is the only one who can understand him and he can be fully himself with and vice versa. Their relationship is built on immense trust.

―୨ ☾ ୧⋆ ˚ Their ship name ‘ infinitetime ‘ as well as their wedding rings are a combination of their cursed techniques: Satoru’s Infinity and Sera’s Time Manipulation

[melancholypancakes]

(disclaimer: this is all fanart and fanmade and my OCs aren’t canon to TMNT or rottmnt)

Emily Mochizuki (エミリー 望月) is a teenage girl with short blonde hair, best friends with April and a dark secret past.

Emily grew up in Japan, Kyoto with no father, she was raised by her mother Kayda leader of the Dragon clan.

Emily wasn't fond of her classmates due to being Hāfu (half Japanese-half American in her situation)

Being raised in the dragon clan, she was homeschooled and taught Kuji Kuri, Taijutsu, Shurikenjutsu, Kenjutsu, Sōjutsu, Bōjutsu, and Ninjutsu.

The teachings were brutal and Fierce, almost to the point of abuse.

Emily was one of the few Kunoichi including her mother.

All Emily's life she was taught discipline, concentration, caring for others was a sign of weakness, and yōkai (mutants) were enemies.

Emily couldn't see that, however, they weren't hurting anyone and the yōkai had normal lives just like humans...so how could they be our enemies?

Emily had thought they were doing good for humanity, she thought her mother held justice and morals but it was all a façade...

Her life was a lie, her mother, her goals, they weren't doing good with humanity.

They were killing innocent people yōkai or not, her mother was evil, selfish and only cared for herself.

Emily couldn't kill anyone, nonetheless a helpless yōkai child.

At the age of thirteen, Emily abandoned her clan and fled her homeland.

With a few deals, she managed to get to New York City where her estranged aunt and uncle lived.

Her arrival was not expected, as Katsuki and Haru did not know having a niece.

Katsuki, her aunt was an identical twin to Kayda.

Her aunt was the exact opposite of her mother, she was a chubby woman who owned a tea shop, sweet, kind, and caring towards others and her children.

When Emily introduced herself and told her situation, Katsuki wasn't surprised at her sister's manipulation tactics but shocked at how Emily was treated.

Katsuki left that life behind much like Emily, she was willing to have Emily live in her household and knew she loved America and her cousins.

Who knows maybe she'll make some friends...

At the start of freshman year, Emily was really nervous about meeting people nonetheless talking to other kids she didn't know.

Her cousins often teased her but mainly her eldest cousin, Asuka.

"weird", "loser", and "noob" were little words for fun to tease her even though Emily had no idea what half of that meant.

Since Emily only knew Japanese she was taking English in school.

She ended up befriending April O'Neil when they bumped into each other on the first day of school.

Emily was really shy but managed to talk to April and asked if she could help her around the school building for directions.

Emily is a love interest and best friend to Leonardo, Emily has a HUGE crush on Leo, they don’t act on their feelings til late season 2 & movie.

{…}

However, as for Gwen Aguirre she is a Hispanic teenage girl and a online friend of Donnie and only appears in late season 1 & season 2

She lives in New York with her parents brothers and sister, not much is known about her.

Gwen is a hipster, gamer girl, comic book geek and has a long history of toxic ex boyfriends and girlfriend.

Gwen is a love interest for Donnie but doesn’t get with him at least til mid season 2

Facts: originally Emily was going to Hispanic, an alternative version of Irma, April’s friend from (1987) version and she was going to be a damsel in distress instead of a female ninja with a dark past.

I did the opposite of turtles having a crush on a human girl like April, on other media plat forms of TMNT. Instead it’s Emily who has a crush on her mutant turtle friend Leo and honestly it’s cute 🥰

Gwen is basically Ramona flowers from Scott pilgrim vs the world ;) dyes her hair every other day

[moved-to-satoruswaifu]

𝒊'𝒍𝒍 𝒅𝒐 𝒃𝒆𝒕𝒕𝒆𝒓 𝒘𝒉𝒆𝒏 𝒚𝒐𝒖 𝒑𝒓𝒐𝒎𝒊𝒔𝒆 𝒎𝒆 𝒘𝒆 𝒘𝒊𝒍𝒍 𝒔𝒕𝒂𝒚 𝒕𝒐𝒈𝒆𝒕𝒉𝒆𝒓 — a summary of satosera‘s lore.

“ why would anyone help me ? “

Time Manipulation ( 時間 操術 Jikan Sōjutsu ) allows the sorcerer to stop time within a specific radius when in possession of a watch. Sera inherited this technique from her mother — however, due to her unstable cursed energy output that she never quite managed to regulate, she struggled to use it. At some point, she decided to try and live a ‘ normal life, ‘ but ended up accidentally injuring two of her classmates who bullied her.

Sera thus left her home and went on the run. She tried to leave Tokyo and escape to another town, but due to choosing a route that required her to use an abandoned train station, she stumbled across a cursed spirit, which attacked her.

Satoru was in the area, and his Six Eyes picked up on Sera’s unique cursed energy. He went to check out what was going on out of sheer curiosity, which ultimately resulted in him saving Sera from the curse and taking her to Jujutsu Tech. The Higher Ups planned on punishing her, however Satoru talked them out of it. Instead, Sera was taken in.

They did not get along all too well, at first. Satoru was low-key annoyed with Sera because she was complaining quite often about her unstable cursed energy and didn't think she'd ever be able to pull off anything. On top of that, she wallowed in self-pity over having lost control herself to the point of injuring people. However, with the help of Yaga-sensei’s teachings, Satoru’s support and Shoko’s patience, Sera slowly managed to get back on track.

Her and Satoru became best friends over time — they realised they understood each other pretty well ( which surprised Satoru, because he felt like Sera could see right through him at times ) and enjoyed spending time together. And after an awful lot of mutual yearning and pining, he confessed to her. ( separate fic coming soon hehe ! )

They trained together and aimed to become teachers. Sera did this because she wanted to aid Satoru in achieving his dream of revolutionising the Jujutsu Society — but also because she found herself growing rather fond of the idea of taking care of the students at Jujutsu Tech. However, because she wasn’t acknowledged by the Higher Ups yet, Sera needed to prove herself first.

After dating for approx. seven years, Satoru proposed to Sera. They got married soon after. ( separate fic for this coming soon, too ! )

During the Night Parade of a hundred demons, which took place a few months later, Sera exorcised 300 curses within ten minutes ( one of them being a special grade ) and thus received a permit to teach — and was also granted the status ‘ special grade sorcerer. ‘

So, both Satoru and Sera work as teachers at Jujutsu Tech in-between going on missions to exorcise curses and keep the people of Japan save. Their lives tend to be rather hectic and chaotic, however both of them still manage to have enough time for themselves and their marriage.

Everything changes when the Shibuya Incident occured; Satoru was sealed away and Sera was on her own, expelled from the Jujutsu Society — but that is a story for another day !

𝑹𝒂𝒏𝒅𝒐𝒎 𝑻𝒓𝒊𝒗𝒊𝒂

―୨ ☾ ୧⋆ ˚ They have a height difference of 26cm. Sera is also a lightweight and Satoru just loves to call her his “ (cute) little wife ” and pick her up at all times, and for no reason whatsoever.

―୨ ☾ ୧⋆ ˚ If I had to sum up the dynamic; it’s basically that one couple who’s always clinging to each other non-stop.

―୨ ☾ ୧⋆ ˚ Both of them dislike alcohol and have a sweet tooth, however Satoru’s is far worse than Sera’s.

―୨ ☾ ୧⋆ ˚ They have the same sense of humour and enjoy teasing their co-worker Nanami Kento.

―୨ ☾ ୧⋆ ˚ They enjoy playing video games together ! Both of them are huge nerds.

―୨ ☾ ୧⋆ ˚ Sera is a Pokémon Fan and Satoru a Dogimon Fan. They sometimes have harmless arguments about which one is better.

―୨ ☾ ୧⋆ ˚ Something deep; Satoru feels like Sera is the only one who can understand him and he can be fully himself with and vice versa. Their relationship is built on immense trust.

―୨ ☾ ୧⋆ ˚ Their ship name ‘ infinitetime ‘ as well as their wedding rings are a combination of their cursed techniques: Satoru’s Infinity and Sera’s Time Manipulation

[yui-amano]

Amusement played in Yui's eyes as she noted the woman's unease and expressions of surprise. Spear-wielding, barefoot lady in the middle of the forest wasn't a regular sight in VC or the rest of the world (save a few rare spots). The elf had clearly made an almost exotic if not excentric impression on the stranger.

"I would not worry about that, anything that doesn't belong in the park is quickly taken care of," Yui assured her. She did not say that she meant it literally, the park could summon magical defenses strong enough to chase out almost anyone who tried to harm it. "You could try walking barefoot too, it's good for your feet," she suggested with a smile, "As long as you do it here and not in The Shipyard. They do not clean that place." There was no love lost between elves and spirits, and Yui avoided going to the Shipyard if she could.

"Pleasure to meet you, Beck. I'm glad that you frequent the park. I work here, and it's a pleasure to hear that it is appreciated." While she spoke Yui moved gracefully through the forest, the plants seemingly moving aside where she was stepping. She slowed her pace to stay by Beck's side.

"I was practicing the Sōjutsu, it means 'art of the spear' in Japanese," she said and her voice took on a revered tone, "It has a long tradition where I come from." Yui did not comment Beck's last words about the spear appearing from nowhere, she was not supposed to have seen that.

"Where do you come from, Beck? Were you born in Vievecor City?" she asked with kind curiosity.

Beck lowered her arms to her sides in time with Yui's lowering spear - still watching the figure before her suspiciosuly. Was she smiling after just almost skewering her? Beck can't help but arch her eyebrows, both on edge and quite frankly confused.

"Uh... you're fine." She says in response to her apology, eyes remaining fixed on the spear as it swings for a moment, before properly looking over Yui. She can't help but notice her bare feet, and how in sync she seemed to be with everything around her. "Your feet... just be careful, there's probably glass or some crap around here." She states her warning, eyes lingering on the grass below - though there was strangely a lack of any marking of human activity around this part of the park. Odd.

It seemed fairly unwise to tell the lady with the tree spear where she lived. But, she was also most definitely lost, so Beck relents. "The Shipyard." She says gruffly, turning her head to properly survey her surroundings - and try to locate an exit. Her eyes narrow on the way the spear seems to root into the earth below, another marked look of confusion painted on Beck's face - before she's distracted by Yui's sudden guidance.

It looked like she had little choice but to follow, Beck appearing not quite as graceful as she dodged over foliage and larger branches. "No, not my first time. I usually try to walk around here to clear my head, but I must have gotten distracted. I've never seen this part before. It's... beautiful, actually." She blows a stray lock of hair from her face, still watching Yui with curiosity. "What exactly was that practice you were doing before? With the tree stick thing. It seemed to appear out of nowhere."

Beck acknowledges her name with a small nod. "I'm Beck."

[pissseonn]

{ lucile choi }

" if you keep looking handsome, girls will steal you, you know... "

- lucile to daniel

NAMES

korean : 최 하윤 (choi ha-yun)

english: lucile choi

japanese: 山崎 光る (yamazaki hikaru)

chinese: 崔 晨光 (cui chenguang)

alias: altlas, boss of alternate, mother

position within alternate: lepidoptera

nicknames: lu, idiotptera, smartass

CHARACTERISTICS

gender: female

age: 15

status: alive

school: j high school

occupation: high school student, boss

fighting style: boxing, taekwondo, kray maga, mma, rare power

affiliation: alternate

lucile choi, also known as atlas , is a supporting character in lookism. she is a student in the fashion department at J high school and is the boss and founder of the point organisation, alternate.

appearance

lucile is taller than average. she gives off a very intimidating aura. she is also very well-built and has a six pack. she has a small face with a sharp-like jawline. lucile also has a blunt nose. she has a pair of upturned eyes with thin eyebrows.

when lucile was younger, she had emotionless eyes and was in a heaved state. her appearance was similar to the younger eli jang.

personality

as stated by zack, lucile is a very quick-tempered person, often causing herself to get into fights. however, she is known to care much for her friends, especially mira and crystal. her kind looks are often mistaken as evil ones.

lucile is a very open-minded person, not letting others' words get in the way of her own self-development.

being the leader of alternate, lucile is a very proud, strong and shows many leader-like qualities. such as showing care and importance for her members.

fighting prowess

lucile had learnt how to fight from her experience in the streets, watching the adults around her causing commotions. she was also taken in to train by gun at one point. lucile has perfected krav maga, boxing and taekwondo. she also has practiced sōjutsu, kung fu and wushu.

techniques used

taekwondo

roundhouse kick

flying side kick

flying back kick

kray maga

eye strike

hammer fist

headbutt

boxing

uppercut

jab

[epithmia-moved]

            hand  to  hand  .

               bajiquan  ,   a  style  characterized  by  the  fact  it’s  classified  for  being  a  style  that  focuses  on  explosive  power  at  a  close  range  ,    and  that  it  utilizes  the  elbow  and  shoulder  quite  a  bit  .    it  focuses  on  direct  and  quick  strikes  and  forms  to  render  opponents  to  an  unable  to  continue  condition  .    thus  hitting  at  the  bodies  major  vulnerability  points  continuously  without  much  mercy  after  opening  the  opponent  up  for  attack    (    also  it’s  got  another  name  as  the  “ bodyguard  style ”  and  i  think  not  only  is  that  another  pretty  fitting  neat  fact  when  applied  towards  mana  but  pretty  damn  cool  .    )   there  are  also  numerous  forms  of  baji  itself  ,    divided  into  unarmed  and  armed  ,    and  stretch  across  weapons  such  as  spears  and  swords  to  further  be  applied  in  combat   (    as  these  are  things  mana  already  knows  how  to  use  ) .

          piguaquan  ,   i  fit  in  here  as  it  seems  from  the  materials  i’m  finding  ,    that  it  is  a  complimenting  style  to  that  of  bajiquan  and  thus  the  two  are  usually  and  frequently  taught  together  .    and  it  makes  sense  really  ,    since  if  bajiquan  is  a  style  for  “  explosive  ,    short  range  power  ”  and  then  piguaquan  is  conversely “  explosive  ,    long  range  ” both  together  featuring  open  ,    loosely  closed  fists  and  palm  based  strikes   (   there  are  also  a  few  moves  of  bajiquan  which  feature  striking  and  then  shoving  the  enemy  ,    and  then  pigua  featuring  a  few  sweeping  rotating  chops  /  swings  that  reach  the  distance  the  first  can’t  ,    so  …  once  again  i  can  see  another  reason  why  they’re  connected   )  .    so  these  together  culminate  to  methods  and  forms  deemed  baji  -  pigua  even  if  either  style  can  be  alone  .

            which  is  a  main  key  staple  in  mana’s  hand  to  hand  fighting  style  ,    if  not  most  of  it  ,    then  i’d  say  at  least  half  of  it  is  baji  -  pigua  .    some  visual  examples  from  other  characters  from  different  media  i’ll  be  using  to  help  guide  this   (    and  mana    )   since  they  either  use  the  aforementioned  styles  are  ling  xiaoyu  and  helena  douglas  .

          shorinji  kempo

            it’s  seen  as  a  modified  japanese  version  of  china’s  shaolin  kung  fu  ,    and  would  serve  to  make  up  the  other  remaining  half    (   if  not  a  little  less  .    perhaps  at  lowest  , 30  or  40%   )   of  mana’s  hand  to  hand  combat  .    out  of  the  three  categories  underneath  shorinji  tempo  —  the  training  methods  within  this  holistic  system  correlating  to  training  self - defense  ,    mental  ,    and  health  —    i  believe  mana  would  put  the  most  onto  seihō  ,    healing  techniques  such  as  acupressure  or  bone  setting  and  jūhō  ,   soft  techniques  like  joint  manipulations  ,    throws  ,    chokes  ,    and  dodges  /  holds  .    this  being  outside  of  the  fact  jūhō  often  are  performed  and  paired  in  sets  with  gōhō    (    hard  techniques   )   and  towards  what  will  /  would  be  mana’s  possibilities  of  blending  all  these  various  styles  when  feasible  or  just  the  practicality  one  may  hold  over  another depending  on  the  situation  .

            though  it  will  be  said  that  most  of  mana’s  skill  set  early  on  was  tailored  to  that  of  their  fathers  to  fit  them  for  the  role  of  being  an  onna  bugeisha  ,    (   a  woman  who  belonged  to  the  bushi  ,    and  noble  class  for  warriors    )    and  so  mana’s first  formal  experience  with  weapons  started  with  daishō  and  the  katana  when  not  paired  .

            a  small  thought  to  keep  in  mind  with  a  few  of  the  types  of  combat  being  discussed  is  the  fact  that  most  of  the  styles  are  a  cover  for  others  where  they  are  in  their  weakest  points  ,    paired  up  or  used  in  a  very  strategic  chain  with  those  that  mana  is  most  proficient  in  .    as  mana  does  not  fight  with  or  rely  on  in  any  capacity a  method  they  do  not  feel  is  near  at  least  half  the  lethality  of  their  usual  unless  they  are  entirely  guaranteed  a  victory  or  to  finish  with  the  upper  hand  .    this  applies  the  most  to  the  the  soon  -  to  -  be  talked  about  sections  on  swordsmanship  and  marksmanship  .

         sōjutsu

            the  second  most  formidable  form  of  fighting  mana  has  at  their  disposal  .    due  to  it  being  taught  with  the  yari  over  the  naginata  and  subsequently  being  at  either  equal  ground  or  a  disadvantage  to  the  other    (   as  sōjutsu  is  taught  mainly  to  attack  a  samurais  weak  points  and  to  combat  the  naginata  itself   )   ,    the  wielding  of  standard  polearms  is  entirely  a  relatively  easy  feat   (   also  attributed  to  being  one  of  the  aforemented  cover  styles  and  thus  is  given  intense  amounts  of  devotion  far  above  everything except  their  hand  to  hand   ) .

          swordsmanship    —     battōjutsu  ,    battō  /  iaijutsu

            iaido  was  learned  first  to  build  the  base  for  the  hefty  amount  of  years  mana  would  progress  to  actual  sparing  and  learning  through  iaijutsu   (    the  more  spar  set  /  actual  combat  form  of  iaido    ) ,    being  bested  multiple  times  at  a  high  level  .   

nitōjutsu  ,    is  a  secondary  known  handling  ,    and  regardless  of  its  disuse  and  rustiness  ,    is  the  preferred  style  .    mana  knows  it  best  in  the  partnership  of  the  katana  and  tantō  .

         marksmanship    —    kyūdō  +  firearms

            there  honestly  is  not  much  to  be  said  here  or  discussed  .    as  in  compliance  with  mana’s  canon  ,    before  they  could  have  reasonably  been  taught  in  accordance  with  tradition  any  archery  ,    it  was  instead  subbed  out  for  firearms  once  they  were  conscripted  .    so  inherently  by  default  where  there  is  a  choice  between  the  two  ,    mana  has  rather  proficient  knowledge  in  various  hand  guns  such  as  semi-automatics  and  rifles  .    while  on  the  other  hand   (    doubly  so  for  universes  in  which  firearms  are  not  existent  and  thus  that  part  of  their  training  does  not  come  to  pass  ,    leaving  room  for  the  original   )    that  skill  can  be  transferred  into  how  well  they  handle  a  bow  and  arrow  .

[apotheoun-a]

Dossier: Kimina Hisaka - Zanpakutō

Subject: Kimina Hisaka Status: Alive - Exiled ; Inaccessible Former Rank: 19th Seat ; Hachibantai Shikai: Hō-ōhime [鳳凰媛 - Phoenix Princess] Bankai: Registered as Unachieved ; Data Supports Competency: Average Potential: Unknown

Subject obeyed standard procedure in sealing one's zanpakutō when a member of the Gotei. Zanpakutō is an unadorned katana: length - 2.2 shaku (66.6cm), shinogi-zukuri blade shape, tsuba is circular steel with phoenix embellishment, tsuka is dark, tsuka-ito is light blue. Subject wears his zanpakutō on his left hip. There are no further identifying details.

Pre-Exile Observations

Release Command: Yakiharau [焼き払う - burn down (to the ground); clear away by burning; reduce to ashes; burn off​] Shikai: Type - Melee

Hō-ōhime inherits the form of a red yari pole-arm (spear, see recreational sketch below). It is a melee weapon with no noticeable kidō or [fire] elemental benefits despite the release call. Hō-ōhime is 7.6 shaku (230 cm) in total with a blade length of 1 shaku (30.3 cm), sansaho ("leaf shaped" or "bamboo leaf shaped") dual edged blade, and a shaft (nagaye) reinforced with metal rings (dogane) The subject is more competent in sōjutsu ('art of the spear') than in zanjutsu. The shikai further includes a pair of heavy metal armor shoulder pads and accompanying light armor.

Post-Exile Observations

Inconsistencies of Note:

• Release Command has changed - name is unchanged • Shikai type has changed • Shikai form is unstable - release shape changes

Release Command: Yaki Tsukusu [焼き尽くす - burn completely; consume (by fire); burn to nothing; burn to the ground; reduce to ashes​]

Shikai: Type - Kidō

Hō-ōhime no longer summons the armor shoulder pads. The weapon will occasionally appear in the same sansaho-yari form as observed in pre-exile, however the subject occasionally manifests the shikai in a second form (see below). This form is that of a wooden staff, approximately 2 meters long, with a club like head. The club is adorned with a ring with three ornaments dangling from it. In this form the Hō-ōhime possesses fire elemental abilities - enhancing the subjects own proficiency with kidō.

It is unknown whether this second form is due to the change in release command for for some other reason. Reiatsu outputs do not suggest this form is a Bankai. No other variation is noted.

It has been proposed that this change in the subjects shikai is related to the introduction of Hollow reiatsu into the subjects soul.

As all other survivors of hollowfication were subject to a different experiment, this hypothesis cannot be discarded or accepted at this time due to a lack of data.

Further Hypothesis

Notes recovered from Prisoner Aizen Sosuke's reveal that hollowfication test subjects with less than a fukutaicho's reiatsu supply suffer from soul-suicide upon the introduction of hollow reiatsu into a subjects system.

As a low ranking [19th] seated officer , the subject has not displayed such a supply of reiatsu (though reiatsu output has been observed to have increased drastically following exile). The following hypotheses have been proposed:

1) Subject has displayed a proficiency for kidō. Advance usage of unknown kidō has allowed the subject to survive or avoid soul suicide. - Discarded [Subject was never tapped for Kidō specialization or for recruitment into the Kidō Corps. Kidō is not more advanced than captain class, nor Prisoner Aizen Sosuke, who failed to identify a way to stabilize the soul following injection of hollow reiatsu.]

2) Subject has inherent ability (zanpakutō inherited?) permitting the survival or avoidance of soul suicide. - Data inconclusive. [Subject was not under close surveillance prior to exile. Insufficient data collected.]

[tsunade-senju-87]

Agira Ryūdoin (龍堂院アギラ, Ryūdōin Agira) foi um shinobi especializado em taijutsu que morreu pouco tempo após sua luta com Might Guy. Ele também é o pai de Rokkaku Ryūdōin, Genshō Ryūdōin e Jakō Ryūdōin.

Agira foi um homem grande, que foi visto usando um casaco comprido, uma camisa escura e uma luva, que se estendia ao cotovelo, além de calças compridas e sandálias comuns de shinobi. Ele tinha cabelos brancos na altura dos ombros que se separavam em torno de seu rosto, não muito diferente de seu filho mais velho, apesar das franjas de Agira serem mais curtas. Ele também possui 3 tomoe na testa.

Como observado por Guy, Agira era um homem bom e honrado, evidente, pois ele tinha escolhido para lutar com Guy usando seu taijutsu no lugar de usar seus bonecos de madeira. E, logo depois de sua batalha, ele pede outra chance com um sorriso satisfeito. Porém ele não sobreviveu para essa revanche. Guy mesmo tinha um grande carinho por Agira, observando os seus caminhos respeitosos e, mesmo chamando-o de Agira-chan.

Algum tempo no passado ele lutou com Might Guy e foi derrotado. Na luta ele estava gravemente ferido e morreu logo depois. Seus filhos tentaram vingar-se de Guy, mas antes que pudesse realizar a vingança, eles perceberam o mal entendido.

Agira era proficiente em Mokujin Sōjutsu, sendo capaz de controlar e invocar um grande número deles. Além disso, suas proezas em taijutsu também eram impressionantes, forçando Guy abrir pelo menos três de seus Oito Portões de chakra para derrotá-lo.

Curiosamente, ele possui uma marca na testa semelhante a um selo amaldiçoado.

[ninja-weapons]

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[itsmarjudgelove]

japaneseSaburi-ryū Sōjutsu / 佐分利流槍術

[myrecommendationlist]

43

The Story of a Low-Rank Soldier Becoming a Monarch (On going) ✨

Alternative

말단병사에서 군주까지

Authors: Doip

Artists: 2631

Genres: Manhwa , Webtoon , Action , Adventure , Fantasy , Military

Original language: Korean

Translated language: English

[Disclaimer: picture and story not mine and they belong to their rightful owners]

_________________________________________

When I was 15, I lost my right hand on the battlefield. When I was 24, I mastered the skills that were necessary for my survival. But I was always told the same things, over and over: “Just quit. I’ll gray even faster if I try to teach you sōjutsu.”

“But if you weren’t disabled, you could’ve learned anything you wanted, with nothing holding you back.” “Hey, let’s just collect herbs. Why are you so obsessed with swordsmanship?” “Just live like everybody else.”

When I was 39, I lost my left hand and fell off a cliff. And when I swallowed the Artifact I had no knowledge about… [ Searching powers… ] – Availability for growth – Desire for knowledge – Abyssal greed – Power and tenacity – Talentless persistence -

Reversing the instincts After the battle, I was reborn as a 15 year old rookie.

《Experience points increased! 》

《Experience points increased! 》

《Experience points increased! 》

《Experience points increased! 》

《Experience points increased! 》

From weather-worn mercenary Chris to young soldier Chris! It’s the story of a skillful lad that found the glory on the battlefield. It’s the story of a talentless man going beyond, overstepping the limits. It’s the story of an ordinary man becoming a knight.

It’s the story of an unordinary monarch protecting his people. It’s the story of a man that returned to save his continent. 《Experience points acquired!》 2nd Title: From the lowest foot soldier to the king Kr Title:

[darealmangakitsunever2]

When I was 15, I lost my right hand on the battlefield. When I was 24, I mastered the skills that were necessary for my survival. But I was always told the same things, over and over: “Just quit. I’ll gray even faster if I try to teach you sōjutsu.” “But if you weren’t disabled, you could’ve learned anything you wanted, with nothing holding you back.” “Hey, let’s just collect herbs. Why are you so obsessed with swordsmanship?” “Just live like everybody else.” When I was 39, I lost my left hand and fell off a cliff. And when I swallowed the Artifact I had no knowledge about… [ Searching powers… ] – Availability for growth – Desire for knowledge – Abyssal greed – Power and tenacity – Talentless persistence -Reversing the instincts After the battle, I was reborn as a 15 year old rookie. 《Experience points increased! 》 《Experience points increased! 》 《Experience points increased! 》 《Experience points increased! 》 《Experience points increased! 》 From weather-worn mercenary Chris to young soldier Chris! It’s the story of a skillful lad that found the glory on the battlefield. It’s the story of a talentless man going beyond, overstepping the limits. It’s the story of an ordinary man becoming a knight. It’s the story of an unordinary monarch protecting his people. It’s the story of a man that returned to save his continent. 《Experience points acquired!》 2nd Title: From the lowest foot soldier to the king Kr Title: 말단병사에서 군주까지

[butterfly-headquarters]

Montana Opelheart, 19 y.o., she/her

Hobbys include western riding, small woodwork and martial arts (more specifically sōjutsu(Japanese spear fighting) and general self defense)

Aesthetic can be broken down to a casual goth-punk-alt (? Not sure myself lmao) mix with a love for high neck/turtle neck tops.

Okay, so, this bitch doesn't have a healthy sleep schedule. She wakes up at like 5 a.m. to help Maya out in the stable + prepear stuff for the camp kids with Justin and Thomas (like breakfast and stuff). After that (I imagine around 7 a.m.) she usually goes to Conrad (she has an apprenticeship as a blacksmith with him) and works until 2 p.m. No lunch bc habit.

Once she's back at Moorland some free time and more helping around the stables and a trail ride with Justin, Luca and Tomoko (2 OC's I have yet to introduce, rip). Around 6 p.m. she helps make dinner before heading off to the Circus to bully train with Ydris.

Late evening time is her training Onyx time and doing a patrol aka messing with DC and GED. Sometimes they just ride off to a secluded place to have alone time, too. Once she's back at Moorland it's having leftovers for dinner and then bed (usually between 11 p.m. and 1 a.m.)

She probably teaches some self defense moves to the kids at Moorland on the weekends for those who are interested. (I just wanted to include that one lmao)

The druids get gradually ignored thank you very much. (P.s. Justin, Luca and Tomoko regularly kidnap take her on days off so she doesn't drop dead)

Reblog and add:

Your SSO OC’s name, age and pronouns

Their hobbies

Their general aesthetic

And

What they usually do in a day

[artesmarcialessblog]

EXCELENTE…PARA LEERLO SIN APURO, COMPRENDERLO Y ASUMIRLO

Definición y categorías de Karate.

Traducido por Quast Andreas sensei del libro: ¨Okinawa Karate Kobudō Jiten¨, 2008 de Takamiyagi Shigeru.

Definición de Karate

El Karate es un bujutsu y un budō para protegerse con las manos vacías, entrenar su cuerpo y refinar su mente sin usar armas y herramientas. Esta es la definición tradicional, popular y simple.

Si bien el karate promueve la rectitud, la justicia y el honor, como lo simboliza el dicho "no hay un primer ataque en el karate", tiene el carácter fundamental de ser "un arte marcial de caballeros", que defiende antes de atacar primero.

Por otro lado, oculto detrás de su carácter pragmático como un "arte marcial combativo" se encuentra la estética conductual de "erradicar los errores por el bien de la verdad" (para que haya kensho, que es un concepto budista y que significa negar ideas equivocadas y mostrar ideas correctas, o vencer la injusticia y revelar la justicia.)

El Karate tiene la filosofía incondicional de matar con un solo golpe (ichigeki hissatsu) explicita completa autoprotección. Por lo tanto, al aprender las técnicas, es necesario asumir una situación que corresponde al combate real y prepararse para la muerte inevitable.

Así, el riguroso entrenamiento técnico de la vida y la muerte refina el espíritu y cultiva el carácter. De esta manera, la idea de "arte y habilidad (jutsu)" se sublima en el concepto de "camino (dō)". Debido a este "camino en el que la técnica crea espíritu", el karate ha sido generalmente llamado karate-dō desde el periodo Shōwa y la posguerra.

Funakoshi Gichin (nominado como fundador del Shotokan) y Miyagi Chōjun (fundador del Gōjū-ryū) son artistas marciales (Bujin) conocidos en el mundo como kensei (santos del boxeo) del Taishō (1912-1926) y Shōwa (1926- 1989). Ambos kensei definieron el karate de la siguiente manera.

Funakoshi dijo:

“Puedes protegerte y aplastar al enemigo con las manos vacías y completamente desarmado. En otras palabras, es el kenpō característico de Okinawa llamado karate. "

Miyagi explicó:

“¿Qué es el karate? Se dice que en un principio y durante los tiempos de paz, no se llevaban armas en el cuerpo. Se buscaba hacer todo lo posible para proteger la vida en caso de emergencia. Es decir, derrotar al enemigo en una lucha hombre contra hombre de la forma más eficaz. Sin embargo, no era inusual usar ´herramientas´ al mismo tiempo ".

Los practicantes de artes marciales tienen como objetivo practicar la trinidad del entrenamiento: mental, autoprotección y educación física. En otras palabras, la intención es manifestar los métodos de disciplina moral, defensa personal y educación física. Cuando se adquiere esto, se puede considerar que el practicante se completa como un real artista marcial.

Practicar artes marciales está directamente relacionado con el dominio del arte de la defensa personal, pero también está directamente relacionado con la salud y la educación física, así como con la práctica del entrenamiento mental. A través del entrenamiento de todo el cuerpo, el karate promueve la fuerza física, la resistencia y la explosividad, y ajusta y fortalece los órganos y nervios internos activando sus funciones.

El proceso de entrenamiento es más que riguroso, pero soportarlo desarrolla la fuerza de voluntad, alimenta el coraje y desarrolla un espíritu que puede lidiar con las cosas de manera habitual, sin importar cuándo o qué sea, es decir, cultivar la presencia de la mente.

Al soportar la severidad de la práctica, el karate-dō como arte marcial es un sistema de técnicas diseñadas para mirarte a ti mismo con firmeza y finalmente darte cuenta del "camino de la humanidad".

Funakoshi Gichin explicó el significado de la expresión 空 en el contexto de la palabra karate:

¨Karate es el arte de entrenar el cuerpo usando las manos vacías, para vivir una vida justa; comportarse bien; mejorarse uno mismo. La expresión 空 en karate se basa en esto. Aquellos que estudian karate-dō deben distanciarse de su obstinación y pensamientos malvados, como si se reflejaran en un espejo pulido o como una voz (eco) que viaja a lo largo de un valle deshabitado y deben investigar a fondo el centro del vacío. Esta expresión 空 por lo tanto se basa en esto. Aquellos que aprenden karate-dō deben cultivar continuamente el espíritu de humildad hacia adentro y no deben olvidar una actitud tranquila hacia el exterior.

Además, una vez que vemos a la justicia establecida, diez millones de personas convivir tranquilamente. Al igual que el bambú verde que están vacíos por dentro y son rectos por fuera. Entonces convenimos que 空 en la palabra karate-dō también se basa en esto. Si se ve la amplitud del universo, todo queda en nada. Así 空 se funde en el todo como una parte más.

Hay muchos tipos de artes marciales, como jūjutsu, kenjutsu, sōjutsu y jōjutsu, pero al final, el objetivo es el mismo que el que persigue el karate-dō. En otras palabras, no es exagerado decir que karate-dō es la base de las demás artes marciales. 'Todo ser es vacío' y 'todo vacío es ser' (oraciones centrales del Sutra del corazón budista), el carácter 空 en karate-dō también se basa en esto”.

Se puede decir que tanto el espíritu como la técnica del karate se explican bien por los conceptos de manos vacías, libres de pensamientos sin valor, rectitud y coraje, la forma es vacío y el vacío es forma.

Las artes marciales tradicionales japonesas (budō) han utilizado la religión (budismo y zen) para explicar su razonamiento. Incluso las artes marciales (budō) no pueden decir la verdad última de las cosas sin usar el budismo, y especialmente el zen.

Con respecto a que quiere decir la frase: "Todo ser es vacío, y todo vacío es ser" (del Sutra del Corazón) podemos establecer lo siguiente:

"Todo ser es vacío", que significa:

"La existencia material es la verdad, pero dentro de ella existe un vacío y no hay apego allí". (Nihon Kokugo Dai-Jiten)

"Todo el vacío es ser", que significa:

"Todos los fenómenos son, de hecho, vacíos, y cada uno de los fenómenos vacíos es la existencia real". (Nihon Kokugo Dai-Jiten)

El carácter 空 del karate es literalmente "vacío" o "con las manos vacías", y los practicantes necesitan practicar "artes marciales con las manos vacías" en un estado mental libre de pensamientos.

Si tiene pensamientos, no podrá entender la razón, ni podrá aprender el arte. Se puede decir que el estado mental puro y simple es el objetivo final del entrenamiento.

Además, es bien sabido que él Te del karate significa habilidad, arte o técnica. Por lo tanto, aprender karate significa alcanzar el estado de no mente (Mushin) y protegerse sin usar armas y herramientas, sino cultivar las manos y los pies como armas para la autodefensa.

De esta manera, los dos Maestros de karate condensaron la imagen mental del practicante y su visión de las técnicas como un todo unido y único. Se puede decir que al pulir la habilidad y fortalecer el cuerpo, el karate representa la unidad de la mente, la técnica y el cuerpo, lo que implica entrar en un estado mental que lo separa del mundo en instancias definitorias.

Karate como arte marcial (budō karate).

Basado en las características respaldadas tanto por su historia como por su tradición, el karate de Okinawa se puede dividir en cuatro tipos:

karate como arte marcial (budō karate武 道 空手),

karate como deporte (kyōgi karate競技 空手),

karate para una mejor salud (kenkō karate健康 空手)

y karate dentro de las danzas tradicionales (buyō karate舞 踊 空手).

Quiero explicar cada uno de ellos brevemente y usarlos para mostrar la imagen completa.

El karate de Okinawa se ha creado tradicionalmente en base a las artes marciales (budō).

Técnicamente, el karate es un arte marcial que considera "matar de un solo golpe (ichigeki hissatsu)" y "autoprotección completa" como verdades absolutas.

El karate de Okinawa es un bujutsu y un budō que abarca estos conceptos como algo tradicional. Tiene un potencial técnico considerable para herir y matar inimaginable en contraposición a el karate deportivo moderno. Pero al mismo tiempo tiene una naturaleza soberbia que da vida. Se dice que puede matar personas y que también puede darles vida. Literalmente, es un arte marcial con la habilidad de preservar la vida u ocasionar la muerte.

En los últimos 500 años, se ha pulido a través de las eras y durante generaciones, profundizando el grado de su sofisticación, refinandose con el estilo en un vibrante arte marcial (bugei).

Mientras conserva intactas las cualidades tradicionales de las artes marciales originales (bujutsu), todo esto se ha revitalizado en la era moderna y se ha mejorado en un camino de ética al tiempo de que se ha consolidado como un arte marcial (budō). Este es el karate-dō de Okinawa.

El budō karate es un entrenamiento basado por completo en el kata, formando una relación complementaria con el combate (irikumi) con el estudio de la adecuada aplicación de sus técnicas, permitiendo la operación sinérgica.

El Irikumi es diferente al kumite del karate de competencia (karate kyōgi) realizado bajo "varias reglas" y que está basado en el principio de "detener un ataque justo antes del objetivo", se enfatiza en el uso de la técnica definitiva, de "matar con un solo golpe (ichigeki hissatsu)".

No existen restricciones físicas ni técnicas. Todo el cuerpo es el objetivo del ataque. Por lo tanto, es necesario entrenar las técnicas de autoprotección completa (kanzen bōgyo). Es muy peligroso debido a sus técnicas violentas y técnicas de choque. Se lleva al máximo a forzar una situación desesperada que pone básicamente en juego la propia vida.

Además, la técnica de "matar con un solo golpe" (ichigeki hissatsu) y de autoprotección completa (kanzen bōgyo) se encarna en la integración inseparable de la defensa (uke-waza) y las técnicas de ataque (seme-waza). Morfológicamente, está llamada a practicar el "razonar primero y actuar después" como forma fundamental del entrenamiento.

Sin embargo, esta "razón" no es solo una idea, sino es el arte de la técnica de la sensibilidad corporal, que madura con la experiencia. El cuerpo te enseña a manejar técnicas inconscientemente. Las técnicas incorporadas de defensa (uke-waza) y ofensiva (seme-waza) aparecen como movimientos corporales flexibles adaptados a los requisitos del momento sin ser conscientes. Es la llamada unidad mente-cuerpo (shinshin ichinyo). Cabe decir que se necesita una forma rigurosa de entrenamiento para alcanzar esta dimensión.

Parece que me estoy repitiendo, pero las técnicas aparentemente contradictorias de recibir (defensa) y atacar son inseparables y la ejecución simultánea no es una doble cuenta de defensa y contraataque, es una sola cuenta. Es decir, no debe haber una interrupción estacionaria entre las técnicas de defensa (uke) y ofensiva (seme).

Hasta el momento en que se alcanza esta destreza y los dos explotan juntos como uno. Las habilidades técnicas que provienen del kata deben haber sido muy dominadas. La aplicación simultánea de defensa y ofensa y la adquisición de habilidades a través de la práctica del kata son directamente proporcionales. Si los katas están altamente desarrollados, el nivel de encadenamiento de las técnicas de defensa (uke) y de ataque (seme) van a ser altos.

Además, hay algunas técnicas de recepción (uke-waza) que van más allá de esta dimensión de "recibir y atacar en un mismo momento". También hay un método para obligar al oponente a someterse tanto técnica como psicológicamente solo por "recibir". La esencia del karate de las artes marciales (budō karate). En otras palabras, la funcionalidad absoluta de la categoría de las técnicas de recepción (uke-waza) es atrapar el movimiento del oponente y dejarlo neutralizado.

El profesor emérito Shinzato Katsuhiko de la Universidad Internacional de Okinawa analiza esto de la siguiente manera.

“No solo las técnicas de ataque (seme-waza) controlan al oponente, sino también las técnicas de recepción (uke-waza). Una contención exhaustiva de las técnicas del oponente es también un medio para controlar al oponente. Para ello, para evitar las técnicas de ataque del oponente (seme-waza), es indispensable utilizar una técnica de recepción perfecta (uke-waza). Allí, en ese punto, está el karateka.

El karate no debe ser discutido teóricamente. Pero se debe hablar de la naturaleza marcial fundamental del karate. Por ejemplo, las expresiones "puño que mata(satsujin-ken)" y "puño que da vida (katsujin-ken)" se usan descuidadamente.

En artes marciales, el entrenamiento con énfasis en "técnicas de ataque" ha terminado en aprender el "puño que le quita la vida". Porque no tiene ningún método para dejar que el oponente viva. En otras palabras, si solo se puede utilizar la "técnica ofensiva" para controlar al oponente de manera efectiva, será el único resultado. Eso es porque no puedes permitirte perder la técnica del oponente, solo tienes en mente el ataque. Por lo tanto, se puede decir que su nivel de habilidad en artes marciales es bajo.

Solo aquellos que han adquirido completamente el " uke-waza " pueden dejar vivir al oponente. Si la técnica del oponente se cierra y se controla mediante técnicas de recepción (uke-waza), ni el oponente ni usted se lesionarán. En cuanto al puño que da vida (katsujin-ken活人 拳), son las técnicas de recepción (uke-waza) las que pueden conducir a esta habilidad.

Comprometerse a recibir la técnica (uke-waza) requiere un esfuerzo que va más allá de las técnicas de ataque (seme-waza). Por lo tanto, la categoría de técnicas más avanzada y sofisticada es la técnica de recepción (uke-waza).

Recibimos y eliminamos (uke-hazushi) los ataques continuos del oponente uno por uno, adaptándonos a los requisitos del momento. Este encadenamiento de técnicas de recepción lleva al oponente a un dilema hasta que finalmente pierde su espíritu de lucha. Precisamente esto es poner en práctica el proverbio del karate,

"Sin ser golpeado por el oponente, y sin golpear al oponente, todo termina sin incidentes". Esta es la filosofía espiritual y técnica del karate que es característica de Okinawa, y es en las verdaderas artes marciales (budō karate) es donde esto se pone en práctica.

Competencia de karate (kyōgi karate).

El Karate se convirtió en una disciplina del National Athletic Meet en 1981, en el Shiga National Athletic Meet. En Okinawa, el karate de competición (kyōgi karate) ha recibido atención desde el Encuentro Nacional de Atletismo celebrado en Okinawa en 1987.

Hasta ese momento, el karate de Okinawa fue muy considerado junto con la concepción del karate como un arte marcial (budō karate). En 1981, los círculos de karate de Okinawa se sacudieron al discutir los pros y los contras de participar en el National Athletic Meet. Una intensa discusión estalló. A pesar de que han pasado más de 20 años desde entonces, (cuando se escribió el libro), los efectos posteriores de lo anterior sobre la forma y la naturaleza del Karate de Okinawa aún continúan.

El karate-dō de Okinawa ha estado históricamente orgulloso de su existencia con énfasis en los rasgos tradicionales como un "método de práctica moral", un "método de defensa personal" y un "método de educación física". la existencia es su naturaleza de arte marcial en sí misma.

La competencia, por otro lado, surgió como un nuevo elemento de la era solo mucho después de la guerra. Por lo tanto, se ha quedado muy por detrás de otras artes marciales (budō) al incorporar uno de los requisitos de todas las artes marciales modernas, es decir, el "método de competencia". Sin embargo, como karate histórico (budō karate) respaldado por una fuerte tradición parece irse diluyendo, y según se aprecia esto era inevitable.

Las técnicas y sus designaciones tienen el carácter de "competir", independientemente de que sean de artesanía, música, danza o artes marciales. En particular, como lo demuestra la historia de las artes y oficios, esta tendencia ha ido en aumento desde principios del período moderno.

Mientras el karate es un arte marcial que posee las cualidades de un arte u oficio, "competir" como "método de competencia" es inevitable, y es uno de los procesos que deben evaluarse históricamente. Pero, aun así, no debe violar la disposición marcial fundamental ni sus métodos de educación física y práctica moral. Por esa razón, es necesaria una cuidadosa consideración. En otras palabras, debe considerarse cómo combinar orgánicamente tradición (carácter de artes marciales) y modernidad (competitividad), y hacerlas armoniosas.

En otras palabras, el karate equipado con la correlación genética entre kata y kumite es el llamado karate tradicional de artes marciales (budō karate) y karate no debe usarse de una manera que contradiga las leyes tradicionales. Además, perseguir solo la característica de “competitividad” de manera sesgada no puede cumplir con la responsabilidad de ser herederos de la cultura tradicional.

A continuación, me gustaría comparar las características del karate (budō karate) y el karate de competición (kyōgi karate) desde el punto de vista de las artes marciales (budō) y los deportes.

Bases conceptuales

(el primer número representa al budo y el segundo a la parte competitiva)

1. Doctrina centrada en el ideal del "camino".

1. Antropocentrismo

2. El método de competencia es "vida y muerte".

2. El método de competencia no es "vida o muerte".

3. Las técnicas que ciertamente matan (hissatsu) no se pueden realizar en la práctica real.

3. Las técnicas que ciertamente traen la victoria (hisshō) se pueden realizar en la práctica real.

4. Las técnicas generan un espíritu sublime.

4. Es difícil entrar en el área del espíritu sublime por la técnica.

5. Estrechamente relacionado con las creencias religiosas (budismo zen).

5. No relacionado con las creencias religiosas.

6. Instrucción y práctica totalmente concentradas (shūren).

6. Disfruta, disfruta viendo o entrenando, entrenando (renshū).

7. Tiene la sostenibilidad de un arte marcial de toda la vida (budō) independientemente de la edad.

7. Tiene una limitación de tiempo para grupos de edad específicos, la continuación es imposible.

8. Sistema de técnicas con el individuo en su centro.

8. Sistema de técnicas con la organización en su centro.

9. No requiere una audiencia.

9. Requiere una audiencia.

10. Clasificación: sistema de título y rango (a lo largo de la vida).

10. Clasificación: clasificaciones y clasificaciones (varía según los resultados del partido).

11. Dōjō, keiko-ba, keiko-sho.

11. Campo de práctica (renshū-jō), campo de deportes (undō-jō), gimnasio (taiikukan).

Los que se establecen en el mundo de las artes marciales (budō) hierven continuamente en la encrucijada entre la vida y la muerte. Esto se debe a su vínculo directo con las filosofías marciales de matar con un solo golpe (ichigeki hissatsu) y completa autoprotección (kanzen bōgyo) como una manifestación del concepto de vida y muerte. Al encontrarse en el estado mental absoluto de vida o muerte, practican severamente. Tienes que estar preparado para una lucha por la vida y la muerte en la que dar un paso equivocado significa morir.

Acumulando tal entrenamiento desesperado, cuando se alcanza el alto nivel de tener el poder sobre la vida o la muerte, el practicante ya no puede usar esa técnica contra otra persona. Cuando una persona se siente aterrorizada por las habilidades letales que ha aprendido, él o ella se siente incapaz de usar esa técnica.

En ese punto, el practicante evita cualquier lucha y conflicto y se convierte en un practicante de la lógica conocida como "el hombre sabio se mantiene alejado del peligro" (kunshi ayauki ni chikayorazu). Pensando que la simbiosis de uno mismo y de los demás, la coexistencia y la prosperidad son lo que los humanos deberían buscar como ideales, para convertirse en la encarnación de tal ideal, uno necesita convertirse en un "demonio que busca la verdad". entrar en la esfera espiritual sublime de la iluminación humana.

En contraste con esto, el deporte se basa en una filosofía de puntos más altos para ganar un juego. Al entrenar las técnicas, persigue la victoria o la derrota, y no la vida o la muerte. Usa un movimiento letal sofisticado contra tu oponente. La lógica para ganar requiere un movimiento letal.

Además, los deportes, aunque muestran un espíritu de cooperación de alto nivel, no permiten ingresar a un dominio espiritual elevado a través de la práctica de técnicas, y no existe una profundidad ideológica para aprender el camino final de la humanidad a través del entrenamiento físico y mental. No existe un concepto de "camino del estudio de la mente y el cuerpo".

Bases técnicas

(el primer número representa al budo y el segundo a la parte competitiva)

1. El absolutismo de una técnica como método.

1. Relativismo entre una o dos o más técnicas.

2. Principio de matar con un solo golpe (ichigeki hissatsu).

2. Principio de ganar con un golpe (ichigeki hisshō).

3. Comienza desde el sistema técnico de defensa (uke).

3. Comienza desde el sistema técnico del ataque (seme).

4. El relativismo del primer movimiento contra el segundo movimiento (el fenómeno que siempre gana el que dibuja el segundo, como se sabe de los juegos de mesa japoneses de Go y Shōgi).

4. El principio de que el primer movimiento trae la victoria.

En las técnicas del (budō), no hay segundos movimientos. Es un absolutismo de un solo movimiento que sigue la estricta ley de que no se puede cometer un error, ya sea atacando o defendiendo.

Es como con el principio de esgrima de espada del Jigen-ryū Kenpō (métodos de espada) de Satsuma, que dice: “No dudes de la primera técnica de espada; la segunda técnica de espada significa derrota”. Esta es la naturaleza última de la tremenda técnica de derrotar a un oponente con un solo golpe. Las artes marciales (budō) son algo absoluto que no tolera el reintento o la repetición de una técnica.

El deporte, por otro lado, es una técnica repetitiva, con dos o tres movimientos. Puede comenzar de nuevo con la frecuencia que desee. Es relativo.

A continuación, consideremos por un momento la similitud cualitativa compartida por las dos habilidades artesanales de artes marciales (budō) y artes escénicas (geinō). Antes de eso, me gustaría mencionar lo siguiente.

En Japón, durante el período moderno temprano, las artes marciales (budō y bugei) se han equipado con características únicas y se han completado como un oficio. Es naturalmente diferente de los deportes occidentales para el entretenimiento, la relajación y la recreación, y se ha centrado en entrenar el cuerpo y la mente, especialmente en forjar el espíritu en el proceso de practicar técnicas marciales. Las artes escénicas (geinō) están cerca de esta línea.

Las artes escénicas son habilidades técnicas, talentos y logros en los que los humanos expresan sentimientos internos (emociones) usando sus cuerpos. La caligrafía japonesa, la pintura, el drama nō, la música, la danza, etc. se caracterizan por actuar usando el cuerpo.

A partir de esto, se puede entender que las características comunes a las artes marciales y escénicas son que todas se basan fundamentalmente en el uso del cuerpo humano y que ambas tienen características normativas y estéticas. Si ve las impresionantes actuaciones de kata en artes marciales (bugei), competencia de gimnasia y danza, debe entenderse fácilmente que estos tres comparten las mismas cualidades artísticas.

Karate para mejorar la salud (kenkō karate).

Como se mencionó anteriormente, el karate de Okinawa ha estado históricamente orgulloso de sus rasgos tradicionales basados en los tres métodos de práctica moral, defensa personal, y educación física. Esta tradición ha cambiado en los últimos años.

El karate de la salud se hizo notable como un método de educación física y preservación de la salud. Literalmente mantiene a las personas saludables a través del karate, tiene como objetivo promover la salud y mantener la mente y el cuerpo jóvenes. Tanto la larga vida como la salud poseen cualidades características que nunca dejaron de fascinar a las personas.

Recientemente, las personas de mediana edad y de edad avanzada, independientemente del género, están aumentando en el karate dōjō de Okinawa. El karate es un ejercicio que entrena todo el cuerpo de pies a cabeza. Las personas de mediana edad y ancianos comenzaron a golpear las puertas de dōjō en busca de ella. La conciencia de salud está creciendo.

A diferencia de los jóvenes, ellos [los ancianos] eligen el karate como un medio para promover la salud, eliminar el estrés social y hacer karate para disfrutar del estado de ánimo. De esta manera, pensamos que tiene un estilo de vida vibrante. Este rejuvenecimiento y vigor mental y físico es lo que las personas que aspiran al karate saludable buscar. La tasa de rendimiento de las personas de mediana edad y personas mayores que experimentan personalmente su "mantenimiento perfecto de la fuerza" es extremadamente alta.

El Karate y la danza (buyō karate).

Históricamente hablando, las artes marciales (bujutsu) destinadas a matar durante el período de los estados en guerra, se convirtieron en artes marciales (bugei) durante el período pacífico de Tokugawa, al agregarle el carácter de una habilidad y actuación artística. Finalmente, desde la era Meiji, con el objetivo de fomentar la humanidad, los bugei fueron sublimados en las artes marciales (budō) como un mecanismo para realizar el camino de la humanidad.

En Okinawa, el karate como arte marcial (bugei) se ha puesto de moda recientemente entre las bailarinas. Los tres elementos de este karate de baile único de Okinawa (buyō karate) son el actor, el escenario y la audiencia. En los últimos años, la danza marcial (bu no mai) se ha convertido en una parte indispensable en el repertorio de las actuaciones de danza Ryūkyūan. Es una coreografía de karate en la que se realizan técnicas de karate lentas y rápidas y se combinan con el ritmo constante de sanshin y cantando. Es un "arte de moverse" en el que la expresión de fuerza dinámica, movimiento corporal elegante, vestimenta elegante y movimientos espléndidos de manos y pies se han convertido en el ritmo general.

Hay algo en el karate en sí que se puede llegar a comparar con la belleza del baile. Se puede decir que el baile de defensa personal (goshin no mai) es un baile cercano al karate. Cuidadosamente vestida con la apariencia de un joven, baila el Shinkacchin-bushi y el Agarizato-bushi, y en la segunda mitad se quita el kimono de la parte superior del cuerpo y gira en una actuación marcial de técnicas de karate. Es un baile que hierve la sangre de un hombre de Okinawa.

El karate (bugei) llevado al karate de baile (buyō) e interpretado para cantar y bailar es exclusivo de Okinawa.