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andygojuryu · 30 days ago

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Okinawan Martial Arts

Okinawan Martial Arts Here is an excellent French TV documentary on the martial arts of Okinawa, from the 1990's. It is fortunate that they managed to interview and film a lot of the old Karate masters at this time, because they would pass away very soon after. It is in French, without subtitles , but I have been allowed to share this translation. I have annotated to the translation here, the unaltered translation, I post the link to in the comments section. Okinawan Masters At The Sources Of Karate-Do A Translation by Alexander Simon ….with annotation by Andy Moorhouse

Translators Notes : This is a transcription by Alexander Simon of the French documentary Les maitres d’okinawa aux sources du karate-do (The masters at the source of Okinawan karate-do). A couple of notes before further reading. • I aim to be as accurate as possible in my transcription. However, the interview segments are English translations of French translations of Okinawans speaking Japanese. There is bound to be some divergence between what was originally said and what you see below. I am not fluent in Japanese so my goal was to provide as close a translation as possible to what was being said in French. • Related to that last point, please keep in mind that this is a transcription: I am conveying what the narrator has said. In some cases he uses honourifics to refer to the karate-ka. Sometimes he only uses the first name, and sometimes only the last name. I mean no disrespect to any of the karate-ka when they are referred to by their given name without sensei appended to their name, I am merely repeating what was said in the video. • Whenever necessary I have included small translator’s notes (marked in brackets with the heading “Tr.”). Rather than create an annotated version of the transcription, it is there only in cases where I feel some supplementary information should be noted, or in cases where I feel there may be an error, or conflicting information. As always, no single source of information should be taken as canon, and this transcription should be used to complement what you have read elsewhere, or what has been passed onto you by your sensei. • As a full disclosure, I am a student of the Meibukan, but I am confident there is no conflict of interest in how I have translated and presented the material here. • If you feel there are any errors in my translation/transcription, please feel free to e-mail me: [email protected] • I have left timestamps at various points throughout so that you can refer to those segments in the video. • Annotation notes, translators notes are in (conventional brackets). My annotations are in [square brackets] and in italics where this font is available. Andy M.

(Opening quotation on screen): “An elder dying is as a library burning down.” -Amadou Hampate Ba [Narrator] In 1816, Emperor Napoleon heard tell of a people who carried no arms. “No arms?” he asked, “You mean to tell me they have no firearms?” When it was explained to him that the people of Okinawa did not have the right to bear arms, Napoleon exclaimed, “I cannot understand people who have no interest in war.”

[Opening, members of the Yagi family doing San Dan Gi]

Situated between the extreme south of Japan and Taiwan, the island of Okinawa measures about 120km north to south and 20km wide. It has had an eventful history, occupied successively by the Chinese and then the Japanese. A weapons ban was implemented twice: first by the king Sho Shin, who unified the islands in 1609 [error-1477], and a second time by the Japanese Satsuma clan, who invaded the archipelago in 1609. It is supposed that it is because of this weapons ban that the inhabitants of the island developed their unarmed combat. By practicing with the makiwara the extremities of the body become as hard as a blade--foot or hand could deal damage to an armoured samurai. At this time, the gentry of Okinawa had the idea of using traditional farming tools as weapons, including tools such as fishermen’s oars. At the beginning Okinawa’s martial arts were called To-De (Chinese Hand) for the majority of the existing styles were created either by expert Chinese boxers, or Okinawans who had studied in China. It’s only in 1936 at the beginning of the Sino-Japanese war that the masters of Okinawa decided to adopt the name Karate (the Empty Hand) to distinguish their art. In the 19th century, karate was taught in secret by families of nobility, from master to disciple. Okinawa was officially annexed by Japan in 1879. Thanks to Anko Itosu, karate was introduced to Okinawan school children in 1905 as a method of physical education. It was the first time the art was taught in such a method: in the open, and in large groups. In 1922 Gichin Funakoshi presented the first karate demonstration in Tokyo. Funakoshi decided to settle in Japan and began teaching his art at the university. The first karate championships were held in Japan in 1957, the year of his death. Occupied by the American military in 1945, Okinawa would not be returned to Japan until 1972. Over 30, 000 soldiers were stationed, and many would begin to study karate during their time there. Upon their return to the United States they themselves would begin teaching. Today there are around 1 million inhabitants on the island of Okinawa. Approximately three million tourists, mostly Japanese, visit the archipelago each year to enjoy the beaches. With more than 200 dojo, Okinawa remains the central hub for karate. The Prefecture of Okinawa understands its cultural significance and often organises world championships and seminars to help practitioners from around the world better understand the art.

(Tr. I realise the governor is speaking in English at this point, but it can be a bit difficult to hear what he’s saying, so I’ve translated what the French narrator is saying, which differs slightly from the governor’s original speech.)

Masahide OTA: For us it is very important to transmit our knowledge of traditional karate. These days in Japan there are different schools of karate. In international competitions Japan represents the entirety of the Nippon islands, including Okinawa. But there are differences between Japanese and Okinawan karate. Therefore we want to develop and teach our own karate, that which we inherited.

[Uechi Ryu Karate Demonstration]

Okinawa has no less than 23 styles of karate, but we can categorise them into four major types: Shorin-ryu, Gojyu-ryu, Uechi-ryu, and Kobudo (weapons training). There is also a style that does not exactly fit into any of these categories, called Motobu-ryu*. [I have to admit, I have mixed feelings about Motobu Ryu and the prominence it receives here.] The first master we meet today is Shoshin Nagamine. At 89 years old, he is the head of Matsubayashi-ryu, a branch of Shorin-ryu. A 10th-dan, Master Nagamine has dedicated his life to martial arts. He is one of the most respected experts on the island. His teachers include Masters Motobu, Kyan, and Arakaki, whose portraits adorn the shomen of his dojo.

[demonstration of the Kata, Wankan.]

There existed at one time in Okinawa three styles, called Shuri-te, Tomari-te, and Naha-te, named after the three municipalities of Shuri, Tomari, and Naha. Master Nagamine founded his own school in 1947, combining elements of Shuri-te and Tomari-te. He named it Matsubayashi-ryu after the leaders of the two styles, whose names both began with “matsu,” and which means pine forest. This kanji can also be read as ‘Shorin’, a pronunciation based on the Chinese ‘Shaolin,’ a reference to its Chinese origins. Master NAGAMINE: I will explain to you the difference between Shuri-te and Naha-te. Shuri-te is the style that was practiced in the region around Shuri castle, and Naha-te around the port of Naha. They are the two major styles of Okinawa. There are three essential components to Shuri-te: agility, speed of technique, and movement. In Naha-te one uses physical force and circular/arc movements. We use more natural movements in Shuri-te. The biggest difference lies in the breathing. In Shuri-te we use natural breathing, whereas in Naha-te one employs deep inhalations followed by forceful exhalations. Narrator: We are now at the entrance to Shuri castle. To the right is Takayoshi Nagamine, 8th-dan--son of and successor to Shoshin [Nagamine]. He is the chief instructor of Matsubayashi-ryu. With a group of students Sensei Takayoshi presents to us the kata Passai. From Tomari-te, it was Master Kyan’s favourite kata.

[Demo of the Passai Kata.]

Master NAGAMINE: Some authors have written that Shuri-te is better adapted for tall, slender men, and Naha-te is suited to small, strong men, but I do not believe this is the case. We cannot say that one style is superior to another. It all depends on circumstance and the preference of each person. Naturally, the inhabitants of Shuri practiced Shuri-te, and those from Naha practiced Naha-te. [Demo of basic Kata] Narrator: In front of Shuri castle--destroyed by the Americans in 1945, and restored in 1992--Takayoshi Nagamine and his students demonstrate the first fukyugata. [9:45] Master NAGAMINE: Karate ni sente nashi: There is no first attack (Tr. sente is literally “initiative”) in karate. That is, if we perfectly execute shin gi tai (spirit, technique, body), we become invincible. We are already victors before the battle, therefore the first attack is inconsequential. There is another important phrase in karate: you must work on your character (Tr. the French is literally “you must correct your spirit” -- I am not familiar with the original Japanese phrase). It means that humans are ego-centric, egoistic. In search of our true selves, we exclude others. We all have this tendency. Therefore if we work on our spirit, our technique, and our bodies, we subdue this type of egoism. It is to this end that I have studied Zen over the years; I believe it is through this Way that we can correct the state of our beings.

[Kobudo/weapons demo on bridge.]

Narrator: In front of this temple, built in 1522 for Buddhist priests from Korea, Nagamine’s students practice the kata Wankan, from Tomari-te.

[Kobudo demo continues.]

Master NAGAMINE: Training your body and practicing technique is relatively easy. Training your soul is much harder because humans are always full of desire. Egoism is everpresent. We must constantly fight against our spirit, against our weaknesses, our laziness, egoism.

[Second Kobudo/weapons demo at Shuri Castle, in the palace court yard.]

Narrator: Upon creation of his own dojo in 1953, Master Nagamine named it Kodokan Kobujutsu dojo. Kobujutsu refers to the ancient study of weapons techniques using farming tools as weapons. Master NAGAMINE: It used to be that we didn’t teach karate out of interest or for our curiosity, but with spirit and for our spirits. These days karate is seen as a way of making money. If we consider the physical aspect of karate, it is possible that it is superior to the old days. However, there is no question that the budo aspect of karate used to be much stronger. Budo is, for a small person, the ability to best someone bigger than himself.

[Nagamine demonstrates the Kata, Kusanku.]

Narrator: The kata Kusanku was introduced into Okinawa in 1761 by a Chinese martial arts expert of the same name. Also pronounced Kosokun, it is the most advanced kata in the Matsubayashi-ryu syllabus. It was the favourite kata of Master Chotoku Kyan who learned it from Master Yara (Tr. probably Chatan Yara?). A long and difficult kata, it takes more than a decade of intense practice to master. In the 1930s, Gichin Funakoshi, of the Shotokan, introduced it to the Japanese as Kanku. [14:25]

[impact conditioning demo]

One of the main differences between Okinawan and Japanese karate is in the body conditioning. In Okinawa outside of class forearm training is practiced. This is called kotekitai [Tr. kote is forearm; ko = small, te = hand, kitai = training/forging]. After a few years of daily practice the skin toughens and the arms become strong as logs.

[Makiwara practise.]

At 79 years old, Master Katsuya Miyahira is a 10th-dan and the head of Okinawan Shorin-ryu. When he was 15 years old he became a student of Choshin Chibana, who was taught by Anko Itosu. Gichin Funakoshi brought Anko Itosu’s teachings to Japan to create the Shotokan. In Okinawa, on the other hand, it was Chibana who became Itosu’s successor. In 1935 Chibana named his school Shorin-ryu--the kanji can also be read as Kobayashi-ryu, which means “small forest.” In 1968 Master Chibana received the title of 10th-dan Hanshi becoming the first master in Okinawa to receive such an honour. When he passed in 1969, Katsuya Miyahira succeeded him as the president of the Okinawan Shorin-ryu Karate Association.

[another demo of Passai Kata.]

Master Miyahira is seen here performing the kata Passai. There exists two versions: Oyadomari no Passai from Tomari-te, which is found in Matsubayashi-ryu, and Matsumura no Passai, taught by Master Itosu from Shuri-te. Master Chibana taught the latter form to Miyahira. It is one of the oldest kata in Okinawa, and means “to traverse the fortress.” Master MIYAHIRA: In the old days we didn’t have the kind of free fighting or kumite that we now see in sport karate. Instead we studied the kata and analysed these techniques to truly understand the movements, as we do nowadays with bunkai. Practical fighting application was practiced between the more advanced students, the sempai, and the less experienced. They would ask the juniors to attack them with a punch, or a kick, or any kind of move, but the sempai’s defence would easily disable them every time, or the juniors would be hurt enough that they would try to end the exercise as quickly as possible. It was in this way that learned about fighting. Master MIYAHIRA: There would occasionally be duels between different dojo. From time to time there would be some injuries, but rarely anything serious--at most a broken arm. At this time we were learning how to most efficiently deliver a mortal blow, and so for this reason we practiced frequently with the makiwara. When we trained with our sempai, the blocks they delivered would be so strong our arms would end up black and blue. When we told someone they had a heavy arm, it was a way of saying they had begun to make progress. Master MIYAHIRA: The Zen Nippon Karate Renmei--the Japanese Karate Federation--essentially oversees the development of sport karate. It is through this sport element that they want to achieve the budo spirit, that is to say the development of one’s character. To that end the association continually works on the sport aspect of karate. However my view is exactly the opposite. For me, the element of budo is fundamental to my practice. The type of karate practiced in Europe is essentially sport karate, but for me it is the development of my character that is fundamental and that is the essence of budo. The human condition is the basis of budo. The sport aspect is complementary. Budo is the Way of the Warrior. In the old days samurai were made on the fields of battle, and so it was essential that the warrior’s spirit was forged. Master MIYAHIRA: The fundamental element of karate is building a strong character. It is what is described in this maxim, which says we must seek mutual prosperity. It is not the egoist development of one’s self, but the development and progress as a group that is important. It is the idea of world peace and prosperity. This idea is fundamental to the practice of karate: to seek peace throughout the world. We must live together and prosper together. Master MIYAHIRA: Master Matsumura said that those who practice budo will be rich. Master Itosu explained it thusly: by practicing karate we take care of our health. If we practice regularly, if we go to the dojo anytime, we learn patience and dedication. Furthermore, by going to the dojo regularly we meet others and make social bonds, and so we may become useful to society. By practicing kumite we learn decisiveness. So, if we follow everything I just explained, one who perseveres, who has a strong will, who works harmoniously with others, who can make decisions, then this person will be successful in their work and will be rich. This is the essence of what Master Matsumura was talking about: budo will make you rich.

[demo of Naihanshi Kata]

Narrator: The kata Naihanchi was introduced in Okinawa by a Chinese master. It was originally taught in Naha-te, but this is no longer the case, and has become a part of Shuri-te. Master Itosu modified the kata into three parts. Master MIYAHIRA: The two principles of my dojo come from these two maxim: Kyozon Kyohei, and Gori Go. That is: live together, prosper together, and be sensible. It is fundamental to my thinking. We must act rationally--this corresponds to the techniques we practice in karate. Do not act outside of reason. Kyozon kyohei is mutual prosperity. I discovered this phrase 40 years ago, and I believe it is as true as ever. The idea of working together is very applicable to our society. If someone is facing hardship, we must help them. If you become rich without helping others, there is not really a sense of purpose to your life. That’s why this idea is so important to me. Succeeding together, this is the best way to live. I constantly reinforce this idea because I think there is a tendency to forget about it these days in karate.

{Mass Karate demonstration.]

Narrator: There were multiple celebrations held throughout 1995 to mark the anniversary of the Battle of Okinawa, which saw the deaths of 150, 000 people, and the end of the Second World War. One such event was held at the Cornerstone of Peace, which brought hundreds of karate-ka together from around the world to practice together in a unified ideal of peace and brotherhood. [26:26] Narrator: Nowadays Naha is a thriving metropolis, completely rebuilt after the American attacks in 1945. But in the heart of this bustling city we still find small dojo dedicated to tradition. We are at the dojo of Master Meitoku Yagi, 10th dan in Gojyu-ryu. Master Yagi has instructed both his sons, Meitetsu, to the left, and Meitatsu to the right to ensure they become his successors. Master YAGI: When it comes to modern karate, I feel there is a tendency more and more towards jiyu kumite (that is to say, freestyle sparring) where we don't see movements found in traditional karate, that is, moves that we would find in kata. We see moves closer in nature to kickboxing. It's a tendency, I believe, towards changing traditional karate, which I do not agree with. (Tr. The direct translation of the last sentence is, "It is a tendency I find perverse." However, the French word "perverse" has different connotations than the English word, and without knowing what word Master Meitoku originally used, I hesitate to use the direct translation. The basic idea is that Master Meitoku finds these new movements to be alterations of traditional techniques.)

[Seipai Kata demo]

Master YAGI: It used to be in karate that we used open hand techniques far more often than closed fists. It was only when karate was introduced into schools that we introduced closed fists to the students. With open hands we can at once attack and block, and much more quickly. To attack vital points--the eyes, for instance--it is much easier to use an open hand. In the end it is a more effective technique than a fist. Narrator: In Okinawa, training by the sea is a tradition. The Yagi brothers come here regularly to practice bunkai--the application of kata to be done with a partner--more discreetly. Each kata contains sets of movements to practiced in pairs to learn the practical fighting application of each technique. Master YAGI: Presently in Okinawa there exists two karate federations: Okinawa Karate-do Renmei and Okinawa-ken Renmei. The latter federation is based around the Japanese style of karate. Japanese karate has changed and evolved from the way that we practice karate in Okinawa.

[Demo of Seiunchin Kata]

Narrator: [Kata Seienchin] This kata came from China through Kanryo Higaonna, Grand Master of Naha-te. Born in 1853, Kanryo left for China when he was 23 years old and arrived in Fukkien province. There he became the pupil of a Chinese martial arts master by the name of Liu Liu Ko, and his assistant Wan Shin Zan. Kanryo learned the kata Sanchin, Seienchin, Shisochin, Sanseryu, Seisan, Kururunfa and Suparinpei. After spending a decade in China (Tr, NB. The term "une dizaine d'années" means something like "about ten years" but there is no equivalent English expression), he returned to Okinawa and began teaching in Naha. When he died in 1917, Chojun Miyagi became his successor. Master YAGI: Originally, the karate practiced by Master Miyagi was called To-di, or "Chinese Hand," because that's where he learned his art. Chinese martial arts use open hand techniques much more often than closed hand techniques. [Another Seipai Kata demo] Narrator: [Kata Seipai] Born in 1888, Chojun Miyagi began studying with Kanryo Higaonna at the age of 14. Thirteen years later, in 1915, Miyagi also took his own trip to Fukkien province in China, where he remained for a year. One year after his return Higaonna passed away. Miyagi began to teach. He brought back two kata from China: Tensho and Saifa*, inspired by the White Crane style. He would also later create two Geki Sai kata to teach beginners. In 1937 Jinan Shinzato, one of Miyagi's students, performed at a demonstration in Japan. (Tr. It is my understanding that this story actually took place in 1929.) When asked the name of his style, he did not have an answer. When he returned to Okinawa, he discussed the predicament with Miyagi, who decided to name his school after a line in a poem in the Bubishi--a classical Chinese martial arts text--and thus called it Gojyu-ryu. Go meaning "hard" and Jyu meaning "soft."

[* Saifa - this is interesting, as this documentary is from the 1990’s and the consensus at this time (1990's) was that only Tensho Kata and the Gekisai pair of Kata, were Miyagi’s additions to the style. That the other 9 Kata had come directly from China via Kanryo Higaonna in the 1890’s.]

Master YAGI: We're encountering more and more foreigners practicing karate, and I have the impression that karate is developing amongst them. Narrator: After the war Chojun Miyagi set about teaching at his house. He died in 1953 at the age of 65. He left behind a dozen (Tr. again, the French term here is “une dizaine”) disciples, including Meitoku Yagi and Ei’ichi Miyazato. Ei’ichi Miyazato became a student of Miyagi in 1935, at the age of 13, and stayed with him until the master’s death. He opened his own dojo in 1957, the largest in Naha, and called it the Jundokan. [34:29] Master MIYAZATO: I spent many years studying under my teacher, Master Miyagi. We spent a lot of time doing basic exercises, such as, stretching, running, strength building, etc. [Tr. here I can hear Master Miyazato specifically referring to these exercises as hojo undo, I believe the list provided by the narrator is more for the benefit of those unfamiliar with hojo undo or the types of exercises it might involve], and of course we spent time working on kata and kumite. To strengthen the body it is also possible to practice judo and kendo.

[Demo of Hojo Undo/equipment training.]

Master MIYAZATO: The difference between practicing karate nowadays and back then, is that back then we did not talk about it openly, we did not advertise as we do now. I practiced judo at the Kodokan, I have my 7th-dan. In terms of fighting, when we are at a distance we use kicks, but judo works for close combat, including throws and foot sweeps. Kata were developed based on moves that were known to be effective in battle by masters of the past. I want to use these old techniques to strengthen my body throughout my life. Karate is an exercise in conditioning willpower, which strengthens the weak and makes us better people. Narrator: Okinawa has served as a hub for commerce and trading between Japan, China, Korea, Indonesia, and Malaysia.

[Demo of Suparinpei Kata.]

Of the younger generation of karate-ka, one who stands out as an exemplar in Gojyu-ryu is certainly Morio Higaonna, 9th-dan. Born in 1938 in Okinawa, he spent many years in Tokyo, and eventually settled in San Diego, California. He has established an organisation to help disperse his teachings throughout the world. He regularly returns to Okinawa where he still has a dojo. He is a student of An’ichi Miyagi*, nephew*of the founder of Gojyu-ryu. Here he is seen performing the kata Suparinpei, whose Chinese name is Pechurin--108 techniques. It is the most complex kata in the Gojyu syllabus. It was taught by Kanryo Higaonna to Chojun Miyagi, who brought its techniques to a high level of execution.

(Tr. Once again, while he is speaking English in the video, it can be hard to hear at points, so I’ve just decided to translate the French narration.)

[error – An’ichi Miyagi is not a relative of Chojun Miyagi. It is just coincidence they share the name.]

Master HIGAONNA: I began karate around 15 years old. My father practiced Shorin-ryu. One day I saw him teaching the kata Pinan to some friends and I was very impressed. I asked my father to teach me. He taught me some basics: kicks, strikes, blocks, but nothing that serious. When I was in high school I had the chance to meet Tsunetaka Shimabukuro, who taught Gojyu-ryu but had started in Shorin-ryu. It was with him that I began my training in earnest, around the time I was 17. Narrator: In Gojyu-ryu one must be able to withstand an opponent’s attack. This can be achieved through body conditioning.

[Demo of Tanren ‘body forging’,impact training.]

Master HIGAONNA: The main difference between Naha-te and Shuri-te--in my opinion--lies in the kata. The kata differ greatly between the two schools. I don’t know much about the origins of Shuri-te, as it is not my school and I don’t have that much information on it. Naha-te, which led to Gojyu-ryu, came from Southern China--more precisely, from Fukkien province. The schools in the South based their practice on close combat and grappling. Kicks are executed on the lower part of the body. On the other hand, in Shuri-te, with its tall postures, quick movements, high kicks--sometimes including jumps--is more a reflection of the Northern schools. This difference between the Northern and Southern Chinese schools is also reflected in Shuri-te and Naha-te, and certainly in their kata.

[Kakite/Kakie, pushing hands demo]

Master HIGAONNA: I have done some research into the origins of Gojyu-ryu. Twice I travelled to Fukkien province, in the city of Fuzhou, where Chojun Miyagi also spent time. I met with Chinese experts and we compared our techniques. I discovered they used very similar methods of strength training exercises, or hojo undo, such as the chi’ishi. They also practiced the same type of arm wrestling, which they called Kaki and we call Kakie, but the kanji are the same--it is only a matter of pronunciation. The kata I saw were different, though there are segments that do appear in the Gojyu-ryu kata. The stepping patterns, the Sanchin stance, the kamae, open hands, the shime performed during Sanchin. I did not discover any kata that directly corresponds to a Gojyu-ryu kata, but I was not discouraged, and I will return once again to China to continue my research. Narrator: Strength building exercises exist in all the Okinawan schools, but it is in Gojyu-ryu where is it most emphasised. Chi’ishi refers to strengthening stones. It is equally possible to use the implements to practice kata, such as using chi’ishi to do Sanchin. [47:40] Master HIGAONNA: Let me explain to you where the strength in a punch comes from. When you’re punching the power comes up from your toes, your heel, your ankle, your calf, your knee, your thighs, and your hips, and finally through your elbow to your hand. This is the path that external energy flows through. Internal energy comes from your breath, and is focused through your exhale. Power comes from the perfect co-ordination of these two factors: movement and breath. Or, your body and your internal energy. [Demo of Sanchin Shime, the testing of Sanchin Kata.] Narrator: It is characteristic of Gojyu schools to test one’s power while performing Sanchin. Master HIGAONNA: Breathing is very important in karate, particularly in Gojyu-ryu, both for your internal energy and for your health. Strength and vitality come from your tanden, your stomach. This is true in both medicine and in the martial arts. The deep breathing done in Sanchin--both on the inhale as well as the exhale--is important for executing the techniques properly. We can tell by the sound if it has been done properly. The sound of the exhalation can be compared to the kiai, they both come from our stomach. The breath must be co-ordinated with the rotation of the fist. The focus at the end of the breath coincides with the contact of the fist with a target.

[Demo of the weapon, Sai.]

Narrator: Like all grand masters in Okinawa, Master Higaonna is also an expert in kobudo. Here he is demonstrating the sai against the bo.

[Demo of the weapon, Kama.]

Another weapon is the scythe, or kama. A useful farming tool it can also be transformed into a deadly and efficient weapon. Razor sharp, they keep an opponent at bay. The highest authority in Okinawa in kobudo is Master Shinpo Matayoshi, 10th-dan, president of the Okinawan Kobudo Association. Master MATAYOSHI: My father ran three dojo, one in Kadena, one in Naha, and one in Chatan. I started my training by observing others, around the time I was four years old. By the time I was seven I already knew about five kata. Kobudo originated in China. The techniques are not native to Okinawa; they primarily come from the Fukkien province, and also from Taiwan. Master MATAYOSHI: Okinawa was a peaceful country until it was invaded by the Satsuma clan in 1609. To defend themselves, the country folk used the tools they had available. Most weapons in Okinawan kobudo come from tools that were used in daily life, which is why, for instance, we do not use swords or knives. Most kobudo weapons are particular to Okinawa, including this one here, the mametaki, which is a kind of wooden staff, and actually can also be seen in Vietnam and Taiwan. Kobudo techniques come from the peasants, which were later taken up by gentry who passed these moves on through their teachings. But at their essence we can see these movements belong to farmers who tilled their fields, fishermen casting their rods--all these techniques come from movements that belong to farming or fishing. Master MATAYOSHI: In Okinawa we did not have the katana or guns. Therefore the weapons we used were those found in daily life. For example, cranks, or flails, or boat oars--all these items, the mametaki, the tonfa, the kama, all became a part of Okinawan kobudo. As a part of my training when I was younger, my father would make me wear stone geta, which were very heavy. I would have to jump while wearing them, which helped to strengthen my legs. I would also wear straw shoes and try to jump between obstacles placed about two metres apart. I would often fall and hurt myself, or damage my feet. This exercise was meant to develop my dexterity and condition my feet. Master MATAYOSHI: I made for myself a type of cross that I planted vertically in the ground. I would practice striking it, imagining the horizontal board to be my opponent’s shoulders and the vertical plank his body. It was kind of like a makiwara, one that could be displaced more easily than a traditional makiwara.

[Demo of the Eku/oar.]

Narrator: A kata for eku, a fisherman’s oar. We can’t help but admire the technique of Master Matayoshi, who is 75 years old. Master MATAYOSHI: The practice of budo encourages longevity. In Okinawa there are over 400 centenarians. [1:02:14] Narrator: We now go to another style, Uechi-ryu, which stays close to the practice of karate in the 19th century. It was created by Kanbun Uechi. In 1897, at the age of 20, Kanbun arrived in Fukkien province of China. There he became a disciple of the Chinese master Shu Shiwa, under whom he studied for 13 years. Kanbun Uechi returned to Okinawan in 1909, but did not teach until 1932, at which point he was living in Japan. He once again settled in Okinawa in 1946, where he died two years later. Master Toyama was a student of his. The founder brought back three kata from China, Sanchin, Seisan, and Sanseryu. Master TOYAMA: Master Kanbun Uechi learned karate in Okinawa. The reason for his visit to China was deepen his knowledge of the art.

[Sanchin Shime demo.]

Narrator: Master Kiyohide Shinjo, 7th-dan Uechi-ryu, will demonstrate the kata Sanchin with the assistance of his son. Uechi-ryu performs Sanchin with open hands, in contrast to the closed hands of Gojryu-ryu. Uechi-ryu places emphasis on body conditioning in order to withstand attack during a confrontation. Master TOYAMA: Sanchin is the fundamental kata of Uechi-ryu. It allows us to build a strong body. It should be practiced for three or four years, and then, once we have a grasp on the basics, we can begin to learn other conditioning drills for our arms, our legs, our fists, even our toes and fingers, with the makiwara, or with other tools. Once we’ve built this foundation for ourselves through this training, we can start practicing fighting techniques. Master Uechi spent a dozen years in China. He brought back three kata: Sanchin, Seisan, and Sanseryu. Of these three kata, Sanchin is the foundation of Uechi-ryu. If we practice it seriously and really begin to understand it, it will be easier to learn kata like Seisan and Sanseryu. Once again, it is essential to learn Sanchin to be able to understand the other facets of Uechi-ryu. It also teaches the practitioner about body conditioning. Narrator: Makiwara practice is very important to Uechi-ryu. Unlike other styles, we find a prevalence here of open-handed techniques used for striking vital points. This hearkens back to the art’s origins of a type of self-defence that could permit the practitioner to kill with his bare hands if necessary. Master TOYAMA: During Sanchin practice we strike various parts of the body to strengthen our natural armour. This is an old practice that comes to us from China. Sanchin is the core of our method. One might even say that without Sanchin Uechi-ryu would not exist. I began training with Master Uechi when I was about 16 or 17. It was from him whom I eventually received my 9th-dan. He had a calmness about him in his daily life. However, in training his personality changed and he became quite severe, quite strict. It is now our responsibility to pass on his teachings to a new generation. [1:10:00] Narrator: We now move on to the style Motobu-ryu, which was taught in secret by the Motobu family to the royal family of Okinawa until the 19th century. Choyu Motobu* was the teacher to the last king of the Ryu Kyu kingdom, Sho Tai, who reigned from 1848-1879. Well after the dissolution of royalty, Choyu Motobu opened a dojo in Naha in 1924. He passed on his knowledge to Seikichi Uehara before dying in 1926. Seikichi Uehara began publicly teaching his art in 1947 and named it Motobu-ryu in honour of his teacher.

[*the older brother of the influential Karate fighter and teacher, Choki Motobu]

Master UEHARA: I was the student of Master Choyu Motobu for seven years. My master passed on his knowledge to two people, his son Chomo Motobu, and myself. It was after the war that I decided to open my teaching to the public. [first demo] Master UEHARA: The secret techniques of udunti were taught to the royal family of Okinawa by the eldest sons of the Motobu family. My master, Choyu Motobu, was the 11th generation of this heritage. [second demo.] Motobu-ryu includes weapons training, and it is an integral part of the style. The way of using these weapons, the bo for instance, is also a part of Okinawan dance. When I noticed this it lead me to research the history of the relationship between martial arts and dance. I found that the two histories are, in fact, intertwined. The dance of Okinawa, the RyuKyu buyo and Motobu-ryu do have a shared history. [demo of locking techniques.] Master UEHARA: There are some magnificent moves in traditional dance. This is the movement of a sword striking upwards, and downwards. And now, a movement from the dance. (Tr. this section is around 1:14:10) The relationship is quite obvious. We also have a lateral sword strike, and [Tr. with an open hand] a dance movement. I would say that while the weapons bans were in place, the old masters would hide these techniques in dance to teach them to their students. We know that some of the master, like Chotoku Kyan were excellent dancers. Traditionally, the great dancers of the royal family were men. I believe this is how the martial arts were passed down through the generations in secret. Master UEHARA: Interestingly it is actually the relationship between women’s dance and martial arts where we see the strongest connection. If I do these gestures with open hands they become dance movements. It was forbidden both to draw your sword and to fight with the halls of the royal house. Therefore you had to learn how to overcome your opponent without violence. Here, like this (Tr. around 1:16:45). You see, it’s very easy to manipulate and twist the hand of your opponent. We see the same techniques with two hands. We can just as easily subdue or redirect our adversary. Master UEHARA: In Motobu-ryu or udunti we do not find tsuki like we do in karate. Our movements are based on those from dance, or from swordplay. All these movements stem from women’s dance, and were taught to me by my master Choyu Motobu.

[In the 2 to 4 years they were together ! As you my guess, I have some ‘issues’ with Motobu Ryu, its performance – not just here, but in other videos I have seen, its history and the fact it has such prominence in this documentary. Sorry for the negativity. Andy]

Narrator: Japanese television has come to film Master Uehara. Motobu-ryu is undoubtedly the least known style of Okinawa. Some experts would even question its existence, but the story of Choyu Motobu is, without a doubt, quite real. He even organised a research team in 1924 to investigate the history of Okinawan martial arts. Among the members were Chojun Miyagi, Kenwa Mabuni, Kentsu Yabu, and Chotoku Kyan. Narrator: In contrast to this ancient art, Okinawa also holds championship tournaments to help popularise karate. In 1997, Okinawa organised a world championship for the original styles found on the island. Prior to the tournament, a preliminary meeting was organised in 1995, which also included delegates from around the world. There are several types of categories. For junior competitors, face guards are required in the kumite division. There is also a kata division, which presents itself as a somewhat artistic category as the judges award points based on various factors. In keeping with tradition, weapons kata are also displayed. Perhaps the greatest show of strength lies in the advanced kumite division, which also requires control from the participants. [1:21:45] Narrator: Far from the hustle and bustle of the stadium, Jean Frenette, Canadian karate champion, came to Okinawa to further his study, in particular Zen. Frenette: Zen helps me to focus myself and bring my attention back to my breath. Often in our practice we are so focused on our bodies, or our minds are elsewhere and we don’t give ourselves the complete attention we need. But in Zen we focus almost wholly on the breath, and we achieve a level of harmony, of unity, that we don’t necessarily achieve in our regular practice in karate, or in martial arts in general. That is to say we must make one our breath, our movements, our concentration. Master ROSHI: Why practice Zen? This question comes up quite often. The goal of Zen is to find yourself. To discover your true nature through breath and focus. Samurai practiced Zen because they often came face-to-face with death. They had to find a way to overcome their fear, which they could not do without Zen. The goal of Zen is to understand one’s self through introspection and not through reflection. Master ROSHI: I practiced karate when I was 13. I liked both karate and Zen. If I had not discovered Zen perhaps I would have pursued karate to a higher level. But I chose Zen because it was my calling. I was born in Okinawa in 1920. I began studying with Master Chojun Miyagi when I was 13. I really enjoyed practicing karate and I put all my energy in to my practice. Master Miyagi was strongly opposed to fighting and forbade his students from doing so. Master Miyagi encouraged the spiritual training of his students. Learning to breathe properly and having a good character are the two fundamental principles of karate.

[Demo of Sanchin Kata.]

We practiced in Master Miyagi’s backyard. He was a calm and gentle man with sharp eyes. For him karate was about building character. His teachings involved two parts: physical training and spiritual training. He told us about his life philosophy and his experiences. He explained different rules of karate training, such as not challenging a junior student. For him, karate was about the spirit, first and foremost. Master ROSHI: What is the significance of kata? This should be asked of a specialist, but if I must answer, I would say the essence of kata is breathing. I think this is difficult for Westerners to understand. But the essence of budo, or karate, or Chinese kenpo is subtle. The extreme subtlety is found in the breathing. Kata is the essence of karate in the same way that breathing is the essence of life. It is formed from a set of techniques, some defensive, some offensive. Kata is neither a dance nor a game. In its practice we must come the realisation of oneness with the universe in each technique. It is the same as Zen. To unite the body and mind one must forget one’s self. In practicing kata one must recognise the oneness within oneself as well as with the universe (Tr. I can hear him at this point use the term Tenchi for those familiar with this concept. A possible reference to the Bubishi’s Jin Shin wa Tenchi ni onaji). To unite all in heaven and on Earth, we have to forget our selves. If you are distracted by your ego, you cannot be one with the universe. To reach this level in your training, you must practice Zen. You must master your breath, not only in your kata, but in your everyday life. The essence of karate is not violence, but peace. Even if you are an excellent fighter, you must be able to live your kata in your day to day life, that is to say, uniting the sword and Zen. Zen and karate rest on the same foundation. [1:28:35] Narrator: Taught in schools since 1905, karate is a part of regular life for Okinawan children. NAKAMA: We take kids from when they’re 5-6 years old until they’re 15. They all train together. We teach Sanchin as a foundation for the rest of their training. Later they will learn the more advanced kata. Classes are twice a week for the youngest ones, and four times per week for the older students. Narrator: After introducing karate into the school system, Master Itosu changed the open hand techniques to closed fists. He simplified the kata and removed the martial element, effectively turning karate into a type of gymnastics. This is largely what was exported to Japan and to the rest of the world. It seems that this was what was necessary for karate, an ancient system of self-defence, to be brought into the 21st century. End https://www.youtube.com/watch?v=H8eXBylDpiE

#martial arts #okinawan martial arts #okinawanmartialarts #okinawakobudo #traditional karate #karatedo #karate #traditional martial arts #martial arts history

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commandtower-solring-go · 1 year ago

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Often when i share stories about how horrible American culture is, people will reply by expressing their own sense of shame. They know its bad, but are powerless to stop it. But I don't do it to shame you. I do it to show your worth. And that worthlessness is a construct of the society you live in.

My job has spent the better part of the last year fucking over its employees. We voted on our first union agreement, and the business took every dirty step they could to get their unaltered version of the agreement go through. And even then, have spent 9 months stalling its implementation after bribing everyone and withholding that year's raise. Neither payout will go into effect until after the agreement goes through.

Despite this, they're already implementing the parts of the new agreement they see fit.

So I've been struggling. And amidst that struggle was the fear of worthlessness. I wanted to quit my job. I hated that I needed to take this job in the first place. I was motivated only by a sense of obligation and a fear of laziness. And what I got for my trouble was abuse and burn out.

So I sat down and spoke to my mum. Spoke about my frustrations and fears and that sense of obligation. And in doing so I confronted my fear of it because it was in her voice I heard those anxieties. And her reply wasn't belittlement, indifference of a push to keep going, but the question "Can you pay your rent on welfare?"

In that moment I realised that that voice, that feeling of worthlessness, wasn't real. Its words were fake. As long as I could find ways to support myself, as long as I had a roof and food to eat, how I get there was no one's business. That my worth isn't tied to my work.

I know that kind of existence isn't possible for everyone. I know I can't actually quit my job. At least not right now. But there is relief and freedom in knowing that much of what shackled me to the job was in my head.

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pi-creates · 2 years ago

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Hey there! Do you have any tutorials on how to model swap in season 1 specifically? I'm trying to swap Travis and Doug and am completely at a loss due to the way the files are so funky with season 1 - any help is much appreciated!

The tutorial I have >>here<< is specifically walking through a swap to put Vince from the 400 Days DLC into the role of Lee in Season 1. It isn't really specifically about Season 1, but it focuses and shows a swap happening in that season.

It covers the basics of file types and how to get them working for a swap. It also goes over the method to load a swap without remaking your archives, which I would highly recommend as it is both much easier and quicker that way.

But if you're having issues finding files for Season 1 in particular, a big differences between that season and any of the others is that it has a lot of files in these archives instead of the individual episodes:

WDC_pc_ProjectSeason1_anichore.ttarch2 WDC_pc_ProjectSeason1_data.ttarch2 WDC_pc_ProjectSeason1_txmesh.ttarch2

This doesn't mean that all of the files you need will be in those, but if you're looking for something specific in the episode archives and can't find it, it's probably in those Project archives instead.

And at the most basic level, the meshes and textures you will be looking for are probably going to look like this:

Even though there are separated meshes for Travis (body, hair, head), he also has a singular combined mesh with everything - that's the "sk54_travis.d3dmesh". This will be the easiest one to work with since a lot of Season 1's characters only have one mesh.

And Doug has three meshes depending on the episode he appears in "sk54_doug.d3dmesh" is the appearance he has in episode 1, "sk54_doug103.d3dmesh" is his appearance in episode 3, and "sk54_dougJacket.d3dmesh" is his appearance in episode 2.

If you want Travis to appear in Doug's place in your game, you will have to use the "sk54_travis.d3dmesh" and rename it to overwrite the Doug mesh you want to replace. If you want him to appear in all of the episodes instead of Doug, then you'll have to duplicate the Travis mesh (just copy + paste) and make sure you rename each copy to cover all three of Doug's meshes.

If you want the inverse and to have Doug appear in Travis' place in episode 2, you do the same process but in reverse. You'll have to pick which version of Doug you want to appear, then use that mesh to rename into "sk54_travis.d3dmesh".

The rest of those .d3dtx files need to be in your archives too in order for the mesh to load it's associated textures. And you DO NOT want to rename your textures if you're just trying to do a standard swap. They just need to exist in their unaltered state in a way the game can load.

You also will want to find both Travis' and Doug's .skl files in the data, and there should thankfully only be these ones:

And it's the same principle as the meshes before. Whichever mesh type you used to overwrite the others, use the matching .skl to overwrite the remaining .skl files that your swap is going to cover.

The most difficult part is going to be getting your swapped character to emote properly in the role you put them in. You might be lucky and the characters you've swapped share base animations and therefore their faces move appropriately... if not, you're going to have to go through the other character's files and experiment with .ptables in the data, and the .anm files in the anichore archives.

If it helps at all, I do know that Doug's character shares files with the cop at the start of the game (sk54_copWD), and Travis shares at least some files with David, the teacher who is with him and Ben in the woods. There are likely even more characters with compatible files that intermix, but I can't personally tell you what they all are, I'm afraid.

Hopefully something in either the tutorial or my rambling helps you, mate. Good luck!

#twdg talk #tech support #twdg s1 #model swaps

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songvitko · 1 month ago

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Digital Avatars Get a Makeover: The PFP Revolution Courtesy of iFoto's PFP Maker

In the realm of social media, where first impressions are pixelated and avatars reign supreme, a conversion is underway. It's not just about the content we post; it's about the face—err, profile picture—we choose to don online. Enter PFP Maker by iFoto, a tool changing the way we present ourselves in the digital world.

Have you ever wondered why we're drawn to the allure of a unique avatar? It's more than mere vanity; it's about crafting a digital identity that resonates with our true self—or the self we aspire to be. PFP Maker isn't just a simple picture editor; it's an alchemist of digital personas. With a few clicks and a dash of AI magic, everyday photos morph into works of art that can be as varied as the styles we dream in.

Imagine walking into a party and seeing everyone donning the same face—generic, smiley, and utterly forgettable. That's the equivalent of using an unaltered photo as your profile picture. But what if you could swap that face for a cartoony version of yourself, or perhaps a portrait in the style of a Renaissance painter? Suddenly, you stand out. You're memorable. That's the power PFP Maker by iFoto controles.

Let's delve into the nuance. It's not merely about changing your appearance; it's about curating an image that speaks to your identity, or the identity you want to share with the world. Is your style edgy and modern? Go for an abstract geometric conversion. Are you a vintage soul? PFP Maker can whisk your photo away to a bygone era with a classic filter. The tool's adaptability feels like having a tailor-made avatar, stitched to the fabric of your personality.

I've experimented with PFP Maker myself, and the process is engaging. It's like stepping into a funhouse mirror that reflects not just your image but your mood, your day, or even the vibe of the season. iFoto's AI is the unseen artist here, sensitive to subtleties and eager to please. You upload a photo, pick a style, and voila, the algorithm works its magic. It's a simple concept, but the impact is profound.

Take a moment to think about: why do we gravitate toward personalized avatars? It's about representation—having a digital embodiment that truly speaks to who we are. And in an age where social media is often a platform for self-expression, PFP Maker amplifies that voice. It's the difference between being a face in the crowd and being the face that everyone remembers.

Now, let's talk about the practical side. In a world oversaturated with content, a standout profile picture could mean the difference between blending in and making an impact. Whether you're networking, gaming, or just expressing yourself on platforms like Twitter, Discord, or Steam, your PFP can set the tone for your interactions. It's a silent introduction that speaks volumes.

There's also an element of fun in this digital conversion. We're not just creating a static image; we're playing with the idea of identity itself. What if I looked like this? How would that change my online presence? These are the questions PFP Maker invites us to ask—and answer. It's a playful exploration of self through the lens of AI-driven creativity.

As we trip deeper into the digital age, the tools we use to present ourselves are evolving. PFP Maker by iFoto is a beacon in this development, offering us a canvas to paint our digital souls in bold, vibrant hues. It's a tool that doesn't just change our profile pictures; it changes the way we think about self-representation in the online world.

So the next time you're considering a profile picture update, why not take a walk on the artistic side? With PFP Maker by iFoto, the canvas is yours to fill, and the styles are limitless. After all, in a digital ocean of faces, why not be the most colorful fish in the sea?

#iFoto #PFP #PFPmaker #ProfilePictureMaker #driverphoto #AI #AIportrait #VisaPhoto #Headshots #passport #linkedin #AIPortraits #ProfilePicture #Resume #producthunt #portrait

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hypershadicman · 1 year ago

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yknow what, before i forget about doing this, i might as well go through and make a longer post going over the spreadsheet, like i said, it is interesting to look back on

it is, of course, gonna be riddled with spoilers, so lemme just leave a cut right here if you haven't played Persona 3 and are hoping to go into Reload unspoiled

First off, a little background about the spreadsheet itself; back before Reload was announced but there was still potential hype bubbling under the surface for a remake being in the works (before the official announcement trailer, but after we got a look at that rough Yukari animation that turned out to be real), me and a friend decided to go through all of our complete checklist for what a definitive Persona 3 release would look like. Obviously that wishlist included stuff like actually being able to pick romance options rather than that just being part of the social link past a certain point, as well as including FeMC and a full The Answer revamp to make this remake a full, unquestionably definitive version of the game, but i wanted to take it a step further and also take a stab at what it would look like if the Social Links were completely overhauled as well, so i decided to make a spreadsheet about it.

to actually make any of this understandable going forwards, i also decided to color code this spreadsheet, with a fun little color key as shown here

this sheet was laid out to have the social links from the original games (P3 FES/P3P Male MC stuff colored in blue, P3P FeMC stuff colored in pink, shared stuff colored in purple, and story based social links in yellow), alongside the "new" stuff that would have been changed in my hypothetical revamp (green for changed, pale green for unchanged), with three major goals in mind

Give all party members their own dedicated Social Link, for both male and female MCs

Give both male and female MCs access to all features added in P3P (cooking, making gifts, etc etc)

Change/remove as little as possible while achieving those two goals

and what immediately jumped out at me when i started making this was how easy that actually was to do

like, there were obviously some changes i made in the color commentary, notably

Hidetoshi is actually not considered a romanceable Social Link, but only because he confesses after the social link's completion, which is both funny and stupid

the way Maiko's Social Link ends is, admittedly, kinda weird for Male MC, and you can tell that the writers thought so too because they made FeMC's conclusion for that arc much better and less weird

the Nyx Annihilation Team Link is just... not a Social Link in the original game, it's just a progress bar, and we all agree that's weird right?

I legitimately couldn't tell if the game actually acknowledges the Aegis Social Link as a romance anywhere, so i decided to just mark it as a romance option for both

but other than those incredibly minor tweaks, 14 of the 22 original Social Links remained entirely unaltered, despite me going into this project essentially intending to tear the whole thing into pieces and build it back on first principles. That does leave 8 Social Links which were actually changed, for the most part, everything important was left basically intact (which i'll go over in another post because this is getting pretty long as is it)

y'know, back when we first started getting teases and leaks about a potential Persona 3 remake, me and a friend of mine broke out a spreadsheet to go over our pipe dream what-if best case scenarios for a revamped list of social links (which honestly might be worth going over in some detail now that we have the actual remake coming out so soon), but of all of the stuff on there, i'm still so happy that this actually turned out to be real

#persona 3 #persona 3 reload #persona 3 social links #persona 3 spoilers #fuuka yamagishi #mitsuru kirijo #hidetoshi odagiri #bunkichi and mitsuko #yukari takeba #maya persona 3 #saori hasegawa #maiko oohashi #pharos persona 3 #president tanaka #mutatsu persona 3 #akinari kamiki #aigis persona 3

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eachuisge-cc · 3 years ago

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Digitigrade Werewolves (Override)

An override for werewolves that turns the humanlike legs EA gave them into digitigrade legs with paws, fully paintable with a custom fur/detail overlay. The lower joint is immobile as I can't alter the rig, but I've done my best to shape and weight paint them in a way that gives the illusion of natural movement. The skin override is only needed if you use vanilla skins; if you use my Natural Werewolf Skins, just make sure you have the version for digitigrade paws.

There are still some minor issues, there's what appears to be a uv-1 weight slider problem that creates some artifacts on the legs in CAS, but it doesn't affect the sliders themselves in any significant way and the artifacts aren't visible during gameplay so I'm uploading them as-is. The legs are also a little chunky and off-looking on female wolves, but this isn't something I can change as it has to do with the way the werewolf morphs work. I previously compensated for this by making the mesh super skinny, but they still didn't look great and I'm now working on a digitigrade clothing project that will expand beyond werewolves, so I decided to go with a more neutral shape that looks good when not distorted by the werewolf morph. If it's too distracting this can be compensated for by lowering the leg width slider on females to minimum.

The legs are not compatible with vanilla lower body clothing, it will break them. Check the Digitigrade Clothing Directory for compatible clothes.

Everyone has full permission to use the meshes for any lower body clothing they want to make compatible with these legs, just don't alter them or use them to make your own legs/body parts, and don't re-upload them unaltered anywhere. You're also welcome to use the skins as a template if you want to make your own skins compatible

Download:

Sim File Share | Patreon

NSFW version can be found here

#ts4cc #ts4 cc #maxis match #ts4 werewolves #s4:werewolf #s4:all #s4:digitigrade

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throwaway-yandere · 2 years ago

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Spoilers!!!

my random rambling about to explain why ["No" (Yandere!Albedo/Reader)] is a mess lmao (and no i didn't proofread this, enjoy reading my unaltered agony):

Edit: actually nevermind i edited just one word cause I couldn't take the misspelling lol. There rest of these texts are still unedited except for that one specific word ( which is troupe to trope lol )

Writing albedo's pretty much a challenge because i pegged that he's the type of yandere that you wouldn't figure out he's one unless he confesses everything. He's popular, but a recluse. He's eccentric, but he can be trusted. Those are some characteristics that can make create such a disastrous slowburn yandere. And he likely confess after a long time just to have a record of your reaction (with a scholarly purpose in mind.)

Idk if I managed to make him subtle at all ;;-;; My goal was to make the reader think albedo is a green flag for most of it all while dropping hints that he aint idk if that worked out but oh well no beta we die like __ right?

It's not my proudest work that's for sure, but it's an interesting ride writing it so I thought I'd share lol (꒪ヮ꒪)

The fic was supposed to be inspired by Love Hypothesis. A friend made me read it in a sleepover and I jokingly suggested doing a yandere albedo version and I guess I'm a man of my word(?). I unfortunately had to change a lot since I can't see Albedo having a very intense strict "I don't want to produce mediocre scientists" mindset, and the reader is gn! here so they shouldn't have women-specific STEM struggles. Albedo's loved by a lot of people and he's rather lax when teaching Timaeus so I really can't picture him playing the "grump" character troupe. I have a habit of constantly checking character voice lines in the wiki to get a gist of who I'm writing and I just can't see him as an Adam Carlsen. Send help. (´；ω；｀)

And also a big "unlike LoveHypo" here is that this is a yandere story. It's bond to be toxic. It doesn't read like the source material anymore since it's not a grumpy/sunshine troupe, it's a reluctant stalker/suspicious individual dynamic, if that's a thing. Ironically, I think this is a first fic of mine where the reader lowkey wins in the end? Lmao. What. ರ_ರ

Also: I REVISED THIS FIC SO MANY TIMES YOU HAVE NO IDEA 😭😭😭 For unrelated reasons I got sick with quite the high fever in the middle writing the latter half as well LOL (≧▽≦). The fic was supposed to be more faithful to Love Hypothesis but of course that's scrapped due to reasons mentioned above but then I added that small ex-itto tidbit for fun and temporarily made the reader into a pure chaotic, reckless (and lowkey asshole) person so it'll be believable that the two were exes. Also SCRAPPED that partially because when I tried writing their dialogues with Albedo they're both going nowhere fast and it's turning into a real clownship ;;;;-;;;; wtf. Nearly had the reader call Albedo a dweeb in a dialogue.

Got writer's block with this story and tried writing something else and at that point I was writing 3 fics at once for no valid reason (and now an itto-focused side story for "careful, he bites" is nearly done lololol, I finished a short alhaitham fic before this as well, will prolly upload it tomorrow. The sagau au take I have might take a while). I'm very sorry for my absence! Life is absolutely hectic rn sigh

Also, here's the story header/banner i scrapped as well lololol:

Ain't this a mess lol.

ya know what makes this more hilarous?

i enrolled in an educ course in a state uni before i finished this fic lmfao--

so yeah, "why did they not fake date like in love hypo--" cause im a coward and it felt weird for me to write something about that considering my future possible profession hAHAHAH--

Edit:

#tag: no - albedo #ansytea-talks

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michaelevans27 · 3 years ago

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I've got to leak somewhere at this point regardless of the vulnerability of the dodgy 1 way mirror that can exist. When you're in a position of trust with another person and depth of entanglement and deliberate growth around and with someone and yet consistently have the vines of life leave the sunlight and spread sidewards and pull the sweet fruits/berries into the shade or start to find this vine you are building with help question where you can flourish and blossom it leaves you with so much uncertainty with what you have left when the growth works to pull apart. Sometimes plants have to be seperated for the benefit of their respective health. Sometimes they take too much of each other's sun or they struggle to work synchronously. Sometimes plants will grow and find themselves tangled again. Vines and gardens and plants all beautiful but all unable to know their own needs. It takes a skilled gardener to know what's best and sometimes even then it's not an absolute.

Humans are not plants, we are far more complicated, we are filled with emotion, judgement, issues and conscious thought. Who are we to know what in the fuck we want? How are we supposed to trust in others when we can't even trust our own opinion or struggle to form one? Whether through my own twisted lense of perception, gaslighting or struggles and moments of first experiences and dealings with the many complications to any moment with many people and feelings and topics all that came to my mind was feeling like a robot like maybe my emotions aren't with as much depth or good enough or come out wrong. Yet without the comparison of the past and the need to be clear and therefore properly understood, with the simple and only requirement being to myself... well it doesn't get easier to know your own thoughts but at least it's clearer the depth and strength of feelings one has. The kind of feelings that make you question what feelings are and how you might interpret them.

The ones that are so fiercely strong that you can't tell if you're angry because you're upset or upset because you're angry, whether you're upset because you're thinking about a happiness or upset because you're thinking about the pain, the kind of feelings that tell you you're an idiot for not protecting yourself sooner while also telling you that you ought to not need to protect and all emotions and thoughts between. They say pain makes you stronger but they fail to ever say how it makes you stronger. How one converts or ignites strength from or through the pain, whether pain is to be replaced or forgotten or constant. At what point do you stick true to who you are or maybe were, possibly either foolishly trusting and quick to do so whimsically or refreshing and positively quick in trusting or maybe even both at once since it comes with benefits and goodness but through enough exposure and unfortunate chance you'll be able to have it taken advantage of.

Are there any right answers in the end? Any correct paths to take? In such a perfectionist world high on emotions low in patience and so particular and picky in tastes will there be any humanity able to step back and be hopeful but not condemnful? Any chance of understanding and fair expectations while not sacrificing oneself and not settling for less than ideal but the composure and treatment one would hope in return in this world? I want to be myself, my ideal self in this world, the young man with dreams to do it all and be around for all, to be interactive and caring and trusting with all as I can be, to do as much as I can with my time and to build a pure family with no distances with energy to spread something further with cosiness and trust and openness I was so ready for all of that, I was so ready I took on more than I could, I rushed about the place, I grew tired and pulled in my sphere expanding from a quiet furnishing floater to much more too quickly. I saw my vision in even the worst of times even with each moment of collapse where it would feel like there was a poisonous atmosphere out to get me, with little mind of my mind but there was always enough to keep me going. Didn't matter whether it was external or internal when it mattered most it was internal, when my mind and opinion wavered on whether my feelings were in need internally if needed I'd smooth over and repair as best I could whether I was reckless and blind excusing the damage or smoothing over without the proper external material or against external or internal counterparts is a matter somewhat. What matters to me the most though is having a hold on understanding, ironic how often it can be to feel misunderstood and to not quite understand the new or unknown around you and yet worst of all not have enough perspective and capacity or perhaps too much of the capacity to think so much and not understand yourself.

So much blabber that might not make sense but ultimately it comes to this, I've felt deeply, and strongly regardless of how many times I've felt empty from depression and of the opinions of others. How do I know I've felt that strongly about something? Well for starters I already knew it in each moment where there was effortlessness and yet knowing the moments that had and would take all the effort which meant so little amounting to effortless when achieved. It was clear in the way I'd feel when things would seem to co-incide literally with moments that would match and I'd tell myself that it's a tie at a level deeper with fate, souls, voodoo whatever shit you can think of that becomes your own metaphor keeping minds and states and moments as one or close to one. It's so much more that told me so much about myself and my insides that it'd be a disservice and silly to bother for many reasons to go on.

The biggest thing that told me about the strength of my feelings and opened the Pandora box and decided to make me feel like I finally understood my robot belief and build the knowledge of not knowing what I know or feel or what to trust even within my feelings as to which is central rather than which is in control, the biggest thing that ripped it all open was playing to my biggest weakness, my desire to help anyone that needs it, especially those important to me. My eagerness to drop everything for now and focus on what matters to me most, being there for someone that I trust and I see as positive as a person who simply feeds that fuel of what's good and feeds into a future I know I can keep working for because those people can show me or make me feel there's a positive world and that I am not fighting against an ocean but a stream wide as you want but never endless. I trusted and eagerly took into place the most important and sacred and meaningful things to me in being there and I always will trust in even people that in now way or form have had a chance to earn it, but yet that trust was broken, it isn't often I let my upset take control of me, I keep my emotions in check as much as I can so I'm not hurting others because you can be upset and share upset without doing harm. The most important thing and pure thing I can ever feel like doing, something I struggled to do in moments that I was never prepared for, something I'd do without even noticing in smaller moments, something I do no matter the distance or the positional issues and yet my trust was taken freely advantageously whether maliciously or not, my feelings plain and simply feeling shit on all the while sharing the best of them freely.

Knowing what you truly are feeling and thinking, wanting or needing is hard enough on a basic unaltered state, figuring it out while having no real trust on your own understanding or trust in your ability to trust alongside the deservedness or maybe the potential usage of that trust is an entire different level. People will do all sorts of things in life and may change who they decide they'll be whether it follows their best version of themself, their best vision for themself or just what they feel they ought to be or can only be. There's no way of ever knowing whether someone is reaching out to you and asking how you are to simply do their part in the world, to spy on you and judge or wonder and simply update their info on you, potentially care about you, keep you at arms length as a controlled growth that's simply a body to have contact upon just due to having been part of their life or hell anything under the sun. There's no knowing if it's in your interest to respond and be accomadating to become the next generic and used person in their life that is simply kept up on tabs to know for the sake of knowing or if you'd be accomadating the a simple position where you'd be simply supplying gratification or comparison to their journey, maybe it's in your best interest to share with them regardless since it's progressive in some way? No idea what way or maybe through accomadating the asking of how you are and asking back it would do some good to them and you or even just good for them and it'd be better to do the non-selfish thing and likely what you'd want being good for them by helping them out by doing so but leaving yourself with no betterment from the exchange maybe even worse off. You're supposed to wish people well if you care about them but if you care about them that much don't you also know that it'll hurt ever knowing that would be a case.

Maybe I'm more emotional than I ever realised or maybe people would call me emotionally immature or say that I'm toxic or selfish to not immediately stray towards the most beneficial befitting accomadation of another but last time I did that it made me feel like an object a used object. When it's constantly on loop and stuck on your mind is their a reason? Is there a purpose or direction the universe is pushing you deliberately with all this stuff all these strong deep entrenched thoughts and feelings never giving any long pause of rest? Is it supposed to be a reason to go against in spite of it and trust and respond and engage or is it to follow and close up to, is it stupid to trust someone without constant proof and effort from them showing trust? Is it supposed to stick around and be the way it is for any connections made? Or is it a shitty curse among a strong memory that keeps so much in long term storage that never let's you forget anything. Am I supposed to avoid or forget about or hate or enjoy or be indifferent of little details that I couldn't forget even if I tried, should I be able to forget details. Thinking about it a robot was never a good representation of myself because it focused on a lack of or a disconnection with emotion, feeling miles away from emotion capable and shared by so many more normal people who fit into society or whatever dodgy society may be around, it didn't focus on the confusion of and difficulty with emotion, it didn't focus on the overly believing attitude the childlike expectancy to things working out no matter what and to everything being possible without any sacrifice, the sensitivity to even some violence and small issues among bigger moments thinking everything can be perfect with some ease the rarer of the idealistic over the top optimism moments. At least a robot can know or think and decide in a certain way. It will always make a decision based off of something and wouldn't be unsure of itself. At the end of the day I don't care about it's label because it's the outside world or the stagger into the dark that'll eventually tell me something about my thoughts even if it never comes or my mind is changed more than once. I do really hope it being the first birthday I'll be so seperate from that it'll somehow be as personal and enjoyable as any before, I wish I could somehow have any factor on it but I also wish I'd stop wishing because there's plenty of reason or stories I'm sure to explain that there's nothing good from such stuff being wished since it's at my own detriment maybe. I think that's enough to look back at and know roughly my own thoughts and hopefully give me some peace on it all for a while. Maybe I'll not have to use this ever again.

P.S Michael you might not even understand half the crap you're writing but at least it's been written also there's a wasp and who cares about readability or thinking more about this until it has a reason to be thought about more with a wasp

#diary of my brain #why trust #things aren't simple #are well wishes well wishes in a certain state of your own mind #what's good #still figuring things out #not a writer for grammar

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adifferenttime · 4 years ago

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Honest Hearts: A Rough Rewrite

Hey! I’ve been working on an Honest Hearts rewrite-type-thing for a bit and figured I’d solicit feedback/assemble a post to store some of these ideas.

A detailed explanation of the premise is under the cut, but I’ve made this as a more interesting reintroduction to major locations, along with the characters who live there. I also have some lore consisting of letters, scripture, and holotapes that’s still in the early stages, along with a complete companion wheel for Salt-Upon-Wounds (he’ll follow you around for a little if you decide to help him out). Endings are now finished as well. I’m not planning on expanding this into a full mod, but I’m assembling everything in Twine so I can utilize branching dialogue and mimic skill checks.

I want to keep adding to and editing this because I’m having fun with it, so if you have any input, let me know!

Essentially, the story proceeds as written up until the point where Daniel sends you to either kill the White Legs or destroy their war totems. You quickly realize that their camp is deserted, at which point Salt-Upon-Wounds ambushes you, convo-locks you, and tells you that there’s an entirely different side to things here that you might not have considered.

Factions

The Mormons have established a theocracy in the Utah called Deseret, with New Jerusalem - what was once Salt Lake City - as its capital. Large numbers of them survived the initial apocalypse due to their pre-War focus on strong community ties and disaster prepping; over time, they have returned to the model of self-sufficient agrarianism that characterized the historical Mormon state of Deseret that existed in Utah in the 1800s. Their President, who wields supreme executive power, is also their Prophet. The Mormons believe he communes directly with God, but there’s some discontent in New Jerusalem over his hands-off approach to foreign policy and unwillingness to assemble a standing army. The Elders of the Priesthood are pushing him to allow for some kind of formal military to oppose what they see as revived versions of their ancestral enemies: America, Rome, and the “Lamanites” (this is what Mormons call Indigenous Americans; the “Lamanite” idea has historically been used as a justification for racism, and I’m reflecting that here because it’d be kind of heinous not to). In more than a few respects, Deseret serves as a mirror to the Legion and an exploration of the other side of the coin re: the tactics utilized by colonial empires to present themselves as legitimate while still claiming territory and steamrolling the opposition.

The White Legs are now more explicitly Shoshone, and I’m relying most heavily on the Timpanagos Band for names and historical inspiration (apparently the question of whether they’re Ute or Shoshone is pretty controversial, but I’m sticking with what the Timpanagos have said about it until someone corrects me). After migrating south in the wake of the Great War, the White Legs eventually settled in Ogden, about a day north of New Jerusalem. Initial interactions with the Mormons were friendly, but as New Jerusalem grew and its need for farmland and resources increased, tensions rose before culminating in open violence in around ‘76 or ‘77. Deseret’s party line is that the White Legs conducted a “raid” on one of their settlements and had to be driven away from Ogden; the White Legs claim the violence was not a raid, but a revenge killing after a Mormon killed a young man and was found not guilty by Mormon legal authorities (this is a theocracy, so “legal authorities” here can be understood as indistinct from “the church”). The Mormons established a new settlement on the ruins of Ogden, which they called New Canaan, and the White Legs fled to Salt Lake, where they have been dwindling in number ever since. Salt-Upon-Wounds’ plan to seek entry to the Legion is a last-ditch attempt to save his people from eradication when their neighbors and the land itself seems intent on killing them (not that that makes all the war crimes ok, which is a sentiment you’ll be able to express to his face if you engage him in conversation).

The Dead Horses are a pastoral society from out of Dead Horse Point, and are split almost down the middle along political lines. The more conservative, religious side opposes intervention in Zion. Graham desecrates the corpses of his enemies as an intimidation tactic, and because the Dead Horses’ religion is so eschatological and heavily focused on properly cleaning, preparing, and interring the dead, a big chunk of the religious leadership opposes him on that basis - they think his tactics are ungodly. They’re also worried that any Dead Horses who die in Zion and are interred there will be severed from their connection to Dead Horse Point and doomed to a separate, lonely afterlife. The younger, more progressive elements of the tribe are less traditionalist, sometimes less religious, and overall not as concerned about Graham’s treatment of the dead because of the potential benefit they might be able to derive from him. Follows-Chalk is their de facto leader, and while the Dead Horses don’t formally allocate political power, he’s among the most influential people in the informal tribal leadership. Most of the Dead Horses who’ve come to Zion have done so either because they support Follows-Chalk politically, or for practical reasons - namely, Graham’s access to a dizzying number of guns and his willingness to give them to anyone who’ll fight for him.

The Sorrows are now a terrace-farming agrarian society instead of hunter-gatherers (Zion has a lot of agricultural potential, and there’s already a few farming plots in the Sorrows camp you see in-game, so it’s not a huge departure from the canon). I’m keeping their Mexican heritage, but I’d like to give them some Ainu influences as well - partially for selfish reasons, but also because bears are extremely important to our culture and theology, which gels well with the elements of Sorrows culture and religion that appear in the canon. I’d like to keep the Survivalist because I like him, but I want to expand on their faith. One of the ways I’m doing that is by deciding they can still read English, even though they no longer speak it; it’s basically their equivalent of liturgical Latin. They’re also rigidly matriarchal and in contrast to the Dead Horses (who eschew formal political hierarchies) or the White Legs (who elect a chief who serves until he dies, is deposed, or voluntarily abdicates), leadership positions are allocated through matrilineal primogeniture; Waking Cloud inherited her position from her mother. Religious leadership, likewise, is only available to women. You’ll be able to talk to Waking Cloud about some of the ways this framework is incompatible with the Mormon perspective, and can appeal to her desire to retain power.

Characters

Canon Characters

Joshua Graham and Daniel are largely unaltered except through the addition of lore that gives insight into their cultures, motives, and pasts.

All three tribal leaders (Follows-Chalk, Waking Cloud, and Salt-Upon-Wounds) are either given new backstories, a different set of motives, or different approaches to one another/Graham and Daniel. They’re also explicitly leaders now - what power Graham and Daniel have, they derive from whichever tribal leader they’ve managed to attach themselves to. Of those three, I’m altering Waking Cloud the least and Salt-Upon-Wounds the most. Like I mentioned, I have a companion wheel for him so far and the bones of two other conversations - one, where you meet him for the first time, and the second, where you speak to him before the final battle. Will link as I finish them.

Original Characters

Each tribal leader now has a rival or right hand within their tribe so I can reflect the different ways the values of a specific community can express themselves.

Follows-Chalk’s primary rival among the Dead Horses is a man who refuses to tell you his name. That’s because using someone’s name in casual conversation is considered unspeakably rude, and the fact that Follows-Chalk is willing to share his own with you is, to Mysteriously Named Old Man Character, yet another sign of how disrespectful and laissez-faire Follows-Chalk is about their shared traditions. Old Man Character is suspicious of you initially, but if you speak to him more he starts to warm to you. The goal is to give you a sense that this he’s pretty xenophobic but for good reasons, and despite his political conflicts with Follows-Chalk, has a lot of love for him. He just wants what’s best for his family, and Follows-Chalk is part of that, even if Mysteriously Named Old Man Character thinks he’s making the wrong choices.

Kiiki is Salt-Upon-Wounds’ right-hand woman and intended as a contrast re: the approach to war and its costs. Salt-Upon-Wounds has done some horrible things and gets a fair bit of dialogue about that, but Kiiki is willing to go even further than he has with very little prompting. Her chief copes with what he’s done by trying to assure himself that the ends of war are worth the cost; Kiiki deals with it by trying to convince herself that the means weren't so bad, actually, and that anyone who isn’t nailing corpses to walls is being naive. All of that makes her sound pretty shitty, but she’s nowhere near as devoted to the idea of a Legion alliance as Salt-Upon-Wounds is. It only takes one very low Speech check to convince her that going Legion is a bad move, and one of the paths involves assassinating Salt-Upon-Wounds and installing her as the new leader as a way to stop the White Legs from joining Caesar. I haven’t added this path to the ending Twine because I’d like to finish Kiiki’s dialogues before I do that.

I’m replacing White Bird as the Sorrow’s spiritual leader with a woman named Imekanu. She’s incredibly old, savvy, and knowledgeable - she’s never been outside Zion, but has a store of books in English, Spanish, and Japanese that have allowed her some insight into what caused the war, if not the current state of the world. She’s also aware of the Survivalist’s origins - not because she’s entered any of his hideouts, but because she’s read over the scriptures and has correctly identified them as letters. Her perspective is that the Father in the Caves was a human being, but that doesn’t diminish his religious value. She sees him as analogous to the Buddha or a Catholic saint: human, sure, but still with access to some deeper truths about the purpose of man and the nature of human goodness. You’ll discover that this idea (that the Survivalist was a holy man rather than a literal god) is the most common perspective among the Sorrows, and you can talk to her about how this departs from Daniel’s perspective that the archetypal Father is divine, not human.

Quests

Each tribe has a specific quest that will either lower or bypass some of the penultimate checks that will determine your ending (people are more likely to believe what you’re telling them if you’ve already won their trust).

The Dead Horses: Joshua Graham has been putting the heads of the fallen up on pikes across Zion. The Dead Horses’ religion is deeply concerned with proper treatment of the deceased, and Graham’s decision to desecrate the corpses of his enemies goes against virtually everything they believe. The old man who won’t tell you his name asks you to take the heads off of the pikes and bury them deep in Zion, and to bring Follows-Chalk with you so you’ll have someone to tell you how to treat them properly. Over the course of the quest, Follows-Chalk will share some of his own beliefs about death, and you’ll have the opportunity to share your own. If you complete this quest without sabotaging it, Follows-Chalk will be willing to betray Graham to the White Legs before the final battle.

The Sorrows: This is basically just Ghost of She, but after defeating the Yao Guai you’ll discover a holotape revealing that the girl wasn’t killed by the bear, but by one of the murderers from Vault 22. Waking Cloud will speculate that maybe the Yao Guai wasn’t the ghost of the little girl at all but some other force that wanted to push you to discover the truth. If you wait until the end to tell Waking Cloud about the death of her husband, you’ll have to pass a Speech check of 75 to convince her you’re telling her the truth; completing this quest drops the check to 50.

The White Legs: Salt-Upon-Wounds will ask you to help him sabotage the Mormons’ preparations for the battle. If you help him with this, it’ll drop the Speech check for you to convince him to leave from 100 to 80. It’s not necessary at all to get the tribal confederacy ending, but a new note will appear in your inventory if you finish it and meet a couple other requirements (asking him certain questions, not attempting that one Speech check about religion, etc).

Endings

I’m trying to incorporate as much variety as possible, but there are three main ending paths: siding with the White Legs, siding with the other two tribes, and peace. The basic idea is that the outcome is predicated less on your direct intervention, and more on how other people act based on the facts they have available to them. Most of your influence is through your choices to hide or reveal key pieces of information, and the skill checks you need to access certain endings are less you convincing a character to do something and more convincing a character to believe you’re telling them the truth. There’s one major exception to this, it requires maxed Speech, and the ending it gives you is markedly bittersweet because you’re trying to get a guy to act against his own best interest. I’m writing all the endings up here, and will probably edit them as things change. The post where I explain them in more depth can be found here.

And that’s the story so far! Thank you for reading, and again: if there’s anything here you think is poorly-conceived, let me know. Thank you to @baelpenrose, who’s a grad student in the history of the American West, for helping me workshop a lot of this stuff. If you’ve got expert knowledge on any of the concepts I touch on or are personally a member of any of the groups I’m describing, please feel free to hmu: anon is on, and you’re always welcome to DM me. I’m just doing this for fun, but I still want it to be as not-shit as possible.

#fallout new vegas #fnv #honest hearts #honest hearts rewrite #probably should have started with initial conversations but oh well lmao

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