Featherook Training Facility

[Nira]

?/70

When you take your first and final steps in a shadow walk, make them steady and deliberate. When using the technique, you need to move as if you're seeping in and out of shadows. It's not something you slam into or charge through. You have to ease your way in and out of the opponent's visual memory banks.

This means that, even if you run during the moment period, you need to start and stop your runs with a steady stance. After a sprint, you need to turn your feet with the last steps. Move as if you had shifted from a marathon to a walk. Think about getting your feet lodged in tar. Held and slowed.

The illusion needs a spare moment to catch up to you. The mind of your opponents need openings for a confusing animation to suddenly make sense. Most of the time, when they're patching broken thoughts together, the mind does it smoothly. If you run around through the shadows, you risk overloading the opponents mind.

It's not overloading in the good sense, either. It's overloading as if making a dream feel like a dream. When you thrust too much information right before enemy eyes, they recognize it as unreal. Illusions only function if you have your audience immersed in your world. You need to capture them in a new reality that they can't separate as fiction. That's the world you're using to enter into a person's forgetfulness.

[Nira]

?/70

You don't need solid black shadows in order for this technique to function. Low illumination is usually enough for you to slip out of a person's head. As long as light isn't radiating from every corner, then you can use this technique. Basically, avoid sunny days whenever you want to use this.

Dust, dawn, or a confined room. They are all acceptable conditions that allow you to slip into the air as if you weren't there. Shadow Walk's disappearance doesn't have the darkness reaching up to greet you. You're fading into it. You go away like a moth into a flame, without the dying part. Like ashes, you mix into the blackness.

The murky reach of your abilities is confined to a person's vision. Once you're out of sight, you have a limited time to continue the effect. If a person doesn't see you, they aren't going to blank at your every moment. I was able to get behind you before I moved faster enough, but you can't take the long way around.

The world that the opponent sees is the world you've dashing around. Listen to your ears as well as you can, to make sure that the face of the opponent is facing towards you. This applies to your allies as well. If they move out of the visual realm, they no longer carry your protection. This isn't a technique to use for assassinations towards the back. It's a way to make a realm of confusing in front of a direct assault.

[// One]

+70; Learned.

[Nira]

Glamour Perception
Rank: "C"
Skill: GenJutsu
Effect: Jutsu allows the user to perform Glamour Perceptions.
Special: ---
Drawback: ---
Description: Glamours cannot produce real effects, but they can change things that already exist. That's the chief difference between a Figment and a Glamour. If you want solid wood to feel rotten, birdcalls to sound like the shrieks of the damned, an otyugh to smell like perfume, or a disguise yourself, you probably want a glamour. As with Figments, everyone within range perceives the same thing and reacts appropriately.
Limit: ---

0/10

A step in another direction, beyond the might of shadows, is the nature of modification. I speak for the perception of glamour, the illusion of change. This is a style of genjutsu that morphs the world to your will. You can take a part of the world and change it to something else. If you wanted to, you could force a friend to appear like an enemy. The world is full of places to put the veil of glamour.

As a focus, think about the senses. Those are the core of what you're modifying. One of the lowest levels is smell. There's usually an agreement between good and bad smells, and it isn't too hard to change the effect of those sorts of things.

Smells are generally concrete. If you've interacted with it before, you have a pretty good idea of how it's suppose to be. If you could reflect the memories of a smell into an illusion, you can get the smell spot on.

Taste works the same way as smells. It's something that's largely innate after your initial interaction with that reaction. If you want an opponent to experience a certain taste, it's common to just mirror your memories onto their tongue. Even if it tastes differently to different people, you mirror the taste buds. That part of our biology is similar enough, so they taste is reflective to an actual physical comparison.

Above that probably touch. It's difficult to produce an illusion with touch, but it's easy to make an illusion react to touch. If an illusion of a human is stabbed, then they'll fall back with a bleeding hole in their skin. Being as experienced as you are in combat, you have an idea of the rate of fall, and the intensity of such a wound.

To actually make illusions seem solid, you have to activate whatever nerves make contact with the illusion. If you put immense counter pressure on a set of nerves, it's much like being stopped by a solid object.

Then there's sound. A bit out there. Sound isn't something you just mirror from your own experiences. You have to be aware of the positioning of everyone affected. If there's a giant bee in front of a group, they wouldn't expect to hear buzzing at only one ear. Instead, they should expect the buzzing to come from what's in front of them. The sound must appear as if it's originating from the wings of the bee.

Thankfully, sound is an invisible thing to be sensed. It's a step below the bread of butter of illusions.

What I mean, of course, is visual. What the eye sees as it looks upon your illusion. This is possibly the most difficult. When working from memory, you only have an idea of a flat picture. To get a three-dimensional model of an illusion to register on the environment, it has to look legitimate from every angel it is viewed at. The colors, the shapes, the proportions, and the movement. Everything must match with what is expected when you look at physical reality.

[// One]

+10; Learned.

[Nira]

Algorithmic Decipher
Rank: C-rank
Skill: Ninjutsu, supplementary
Effect: The user understands sound made by writing or various forms of tapping (Morse code). He or she can also mimic the said sounds as well.
Special: ---
Drawback:---
Description: The user can comprehend and decode sound waves emitted through tapping. This is done by hearing a string of sounds, measuring there pitch, flow, consistency, etc. Any forms of writing/tapping, will now be understood and reproduced by the user. This is extremely useful in spying on opponent or even sending messages back and forth. From the sounds of writing they can discern what has been written and pinpoint morse code messages.
Limit: Art of the Bard, must unlock Auditory Comprehension

0/10

Elsie, being tired, stepped aside. Tanni Orval now spoke out.

Let's rest our heads a bit and focus on the music, shall we?

Here's a useful listening trick that you'll like. It's something me and Janice used to decipher written things. People get suspicious if you watch them all the time, but there isn't much they can do if you're listening to them from far away. Writing and tapping has unique sounds, and a person who understands sounds can decode and reproduce those same sounds.

You know that, when you're writing, there's those telltale scratches and rolling noises, right? That's something you can duplicate. Writing is its own sort of song, and you can synchronize and follow along with it. When a person draws a vertical line, it has the sound of a vertical line. When it’s horizontal, it sounds horizontal. If they tap a dot into a word, you can hear that dot as well.

All these things combined will grant you the ability to extract a written passage from somewhere nearby. You can sit in an entirely different room and still copy the entirety of something being written beyond a wall. As long as a room isn’t soundproof, you can take advantage of every little noise that your ear picks up.

You don’t even have to understand the language to produce the characters written from this exercise. There’s a sound to every movement, because every movement pushes around the air. When you shift your hand over to start the next set of lines and dots, the sound of the moving palm is enough for you to position your hand in the same way.

This is an excellent way to cheat on a test, by the way. If you know someone who’s bound to have all the answers, you can mimic their writing tool movements without a second thought.

Oh, there’s morse code too, if you ever pick that up. I think one of us knows it, but I don’t know if you’ve reconnected with that memory yet. Still, tap communication is very useful on the field. As long as it isn’t intercepted, you can get a message across to another person with keen ears. It’s an excellent communication form during chaotic moments. A few taps in the background go unnoticed when something intense is taking hold of the area.

To make full use of this ability, you must take care to separate the subtle noise of writing. Language has a strict musical pattern, something that gives it a flow to be understood by others who share the language. This is extended to our body language, and the movements we use to write. If you can pick up that rhythm, you can separate the deliberate noise of language from the dynamic sounds of the uncaring world.

Sounds of language are sounds of people. You can feel the person as you pick up their noise.

[Father 'Suke]

+10

[Nira]

Tsubasa Sodachimasu no jutsu (Wing Grow Technique)
Rank: C-Rank
Skill: Ninjutsu
Effect: Lets the user grow wings of a bird out of their shoulders.
Special: Ram
Drawback: The user may feel some pain, due to the initial outburst of the extra shoulder bones that are used for the rest of the wings to grow on. Cannot Re-grow wings that were ripped or severed from the body. If one wing is removed then it is impossible to retract the wings. If a wing is injured somehow, once retracted they cannot be used for 2 weeks OOC.
Description: The user forms the handseal, and then the extra shoulder bones that come from the Ritual of Talon and Feather burst through the back of the user and they start to grow into wings of any given bird, through chakra increasing the length of the bones, (user chooses) that are twice the length of the user’s arms. Chakra will numb the pain, but it will still hurt. The chakra will also accelerate the growth of the skin, but it will come out with feathers, having stimulated the chemical. The user may then use the wings to fly and perform other techniques that require this jutsu. When the Tsubasa wishes it or has an injured wing they can retract the wings into their body to heal over time or simply to hide them.
Limit: Must be a Tsubasa, must have Ritual of the Talon and Feather performed on them.

0/10

Oh by the way, I think Vi picked up some wings for you some time ago. You should try and let them loose. It'll be nice to have around.

Let's see, I believe it was added into your shoulder blades. There are some additional bones and such there, which you can feel with your chakra and nerves. It'll be like a seed, stuck beneath your skin. Your nerves and such are going down into it, with the ability to move something that doesn't exist yet. It's up to you to make it exist.

There's a sort of chakra sac in your back. It’s waiting for you to break it open, so that it could stimulate the growth of certain cells. The chakra rushes into the new bones and becomes the fuel. It’s an advanced regeneration form.

You can start the process, but you should make some preparations first.

Due to the nature of your newest blood enhancements, you might want to dull your healing abilities. If you try and set your back to its usual bare form, you’ll disrupt the wings. Instead, you have to let yourself be wounded until a new body type retains its existence with you.

Take a moment to define your biology. Let your mind know that your back is currently improper. It needs a new structure to exist with the realm of flight. Once you have that laid down in the back of your head, you can start to pinpoint the bones and chakra.

Link the cells of the wings with your charka system. Let it all flow, energy, blood, bone, nerve, and muscle. It has to be a new limb, and your head has to treat it as such if you want to be able to move it around.

Now that you’ve set that up, prepare the trigger. Perform the handseal needed, then let a blast of chakra surge into your shoulder. As it reaches there and bursts, you’ll feel quite a bit of pain.

That’s perfectly alright. It’s supposed to happen. There is pain as those spikey bones bloom out from behind. They start off a bit bare and wet, kinda icky. Soon after though, the skin forms on as if it’s an injury to be regenerated. Once the skin is in place, it’s a lot like two blobs that exist along your spine. It’s not finished at this point, not yet.

You take it a step further by filling every individual cell with chakra. That energy will funnel into the skin at the surface. Once there, feathers begin to grow out.

It’s not too heavy, as it turns out. The bones have to be light for flight.

The feathers start as hollow pins, like fuzz, then extend like leaves. The muscles are already there. You can flex it and feel the wind blow with every beat of a wing.

They’re quire a beautiful red and blue, aren’t they? They’re the wings of the Scarlet Macaw. Very pretty and fairly strong, perfect for you, Vi thinks.

[// One]

+10; Learned.

[Nira]

Wing Control
Rank: C-Rank
Skill: Supplementary
Effect: Allows the Tsubasa to properly use their wings for flight.
Special: ---
Drawback: Guidance of an experienced Tsubasa. [PC or NPC]
Description: This training will allow the Tsubasa to control their wings properly after growth. Without the training control of the Tsubasa's wings will be jerky and extremely difficult. The control will be harsh enough that the Tsubasa will be unable to fly without it and merely have the wings for show. With the simple exercises and control methods taught by the experienced Tsubasa, the user will rid them self of the problem of controlling a new appendage and be able to use their wings as if born with them naturally.
Limit: Must be a Tsubasa, must know Wing Grow, must have Ritual of the Talon and Feather performed on them.

0/10

Now that you have your wings, the next step is using them. We’ll have to reference the guidance that Vi was given by one of the Tsubasa members. I think his name was Cody or something, I didn’t meet him.

Anyway, put your wings out, and then spread them wide. Get a feel for holding them in place. Most of the time, when you get to a certain height, there really isn’t much flapping you need to do. You just hold your wings still and glide through the air. To this this, you need to keep your wings steady no matter what weather conditions surround you.

So, if I were to now strike you with a burst of flame, you have to withstand it. Then, while withstanding the attack, keep your mind on your wings. Make sure they do not budge. If you can keep that up, you know you’ll be able to glide through the air when you’re on your way down from a grand height.

When gliding, your wings should be symmetrical. As Cody explained, symmetry leads to a smooth cruise. He mentioned that, if you do not hold a balance between your wings, you’ll being to spiral and fall. Having your wings straight out evenly should be your default state.

Then there’s the flapping. First, get a feel for all the new muscles in your wing. Figure out which ones make which motions. The wing is divided into several parts, and you have to avoid confusing them. Every delicate movement makes a grand change during a flight session.

There are different forms of wing motions for different situations. Cody mentioned that gaining altitude is the most common one, so we’ll focus on that first. To rise, you must thrust your wings down towards the ground. The air will be caught by the wings, and you’ll use it like a staircase step to go up.

Like with gliding, your wings must mirror one another. Every motion done with the left wing must be copied with the right. If you catch the air unevenly, then you’ll topple on your way up or down.

Moving your wings in an uneven fashion is for course adjustment. When you’re already toppling for some reason, you need to use whichever wing is lower to put your body back in an upright position. Cody wants you to practice until it’s instinctive, much like how we often swing around our arms when we’re in the process of tripping.

There’s also erratic wing beats, for when you’re already in flight. You are able to speed yourself temporarily at any point with a simple flap in the middle of an ongoing flight.

Your wings have to be ingrained in your instincts. They are to be as precious and useful as your other limbs.

[// One]

+10; Learned.

[Nira]

Tough Skin
Rank: "C" Always 20 Training Points
Skill: Supplementary
Effect: User's skin is as tough as a mountainside itself.
Special: ---
Drawback: ---
Description: User gains a +1 natural armour bonus to their Damage Reduction. This technique may be gained multiple times. Its effects stack. The total Natural Armour bonus gained by this technique may not exceed 4 per Class Level divided by 3.
Limit: Must learn from Universal Miscellaneous.

0/20

Alida’s voice abruptly switched in.

While we’re on the topic of remaining resilient against the forces of nature, we should look towards your toughness against the elementals of the world. It’s time to begin breaking down what you can withstand on the surface of your skin.

There are countless elements that you need to learn to endure. Once you have a steady idea of what can be withstood, your skin will be as durable as hardened metal.

One common weapon you’ll encounter in the streets are bats. They are easy to get a hold of. Many amateur criminals can obtain and use it. The impact from the weapon is a simple blunt force along a thick line. It is a predictable attack, but it hits with tremendous bludgeoning force.

When up against a bat, do not harden your body and avoid exposing areas that are close to the bone. The crushing direct force of a bat can break your bones if they make clear contact, and that’s a huge disadvantage to get in the middle of a fight.

Bats have to be received softly. You can try to catch them in areas with fat with loose muscle to reduce the most amount of damage. Always be the cushion when you're up against a bat.

[// One]

+10; 10|20

[Nira]

?/20

Spears are incredibly inconvenient. They’re the polar opposites of bats when it comes to defense.

Unlike bats, spears do piercing damage at a point. It’s completely different from blunt damage in a line. When you want to withstand such a type of strike, you have to oppose it with a hard part of your body.

This can be done artificially. If you’re able to toughen your skin to a certain point, you can directly oppose the tip of a spear. This is best for when your opponent doesn’t have much experience with the spear. A plain spear thrust can be blocked with you bind your skin into a concentrated point.

The goal is to start from the soft fabric characteristics of your skin, and reach a consistency that is comparable with tough rubber. When a strong concentration of your skin is struck by a plain spear thrust, you can reduce the damage to a mere prick.

You can’t do this against a trained user of the spear. For attacks with a sophisticated technique, you have to meet the spear with your bone. The strike of the solid point must be halted by an opposing strike from your anatomy. The spears can never pierce bone like it does to muscles and flesh.

The damage from a spear can also be drastically reduces if you can make sure to be hit by the side of a polearm instead of its tip.

[// One]

+10; Learned.

[Nira]

Tough Skin
Rank: "C" Always 20 Training Points
Skill: Supplementary
Effect: User's skin is as tough as a mountainside itself.
Special: ---
Drawback: ---
Description: User gains a +1 natural armour bonus to their Damage Reduction. This technique may be gained multiple times. Its effects stack. The total Natural Armour bonus gained by this technique may not exceed 4 per Class Level divided by 3.
Limit: Must learn from Universal Miscellaneous.

0/20

You’ve picked up on swords quite well, but you have to be able to take a slash every now and then. There are opposing sword users, and a few of them are bound to be enemies of ours.

Swords that slash leave shallow wounds, but their wounds are large in size. To withstand a slash with your skin, it must be counteracted like you would with a bat and a spear

What I mean is that slashing damage is both wide and piercing. The principles of wide bat damage and narrow spear damage are present. Unlike a bat, there isn’t quite as much area being hit. Unlike a spear, the piercing nature isn’t too deep.

Together, what you’re opposing is a line of damage. In that line, your skin must be hardened. It doesn’t have to be as much as with the spear, and but it must cover the entirety of the line.

Limbs have a lot more control in a line than the rest of the body, so with practice, you’ll be able to block a slash with your arm without taking far too much damage.

Yet again, as with the spear, this is for those who have not refined their style. It’s not something that’d work against people like us. Keep an eye on a person’s skill.

Then there are ranged blunt attacks. One of the most basic forms is practiced by children. By that, I mean throwing rocks.

Rocks are blunt instruments most of the time, but their shape is irregular. In case of a spiky or bladed stone, you should also block them like you would a slash.

The thing about ranges attacks is that you have to anticipate where they will land. It won’t suddenly change its direction, but you can’t predict its movements through study and observation of limb movements. To anticipate a projectile, you have to focus completely on the projectile itself.

The moment you see a projectile, you have to begin to understand it. At a glance, you have to figure out how fast it’s going. That determines the bulk of its movement arc. After that, you need to understand the direction, and what part of its arc it’s already in. Finally, you have to have an idea of how the elements are affecting it, since that may alter the course.

You only need an estimate. If you can get a general idea of where a rock is being thrown, you can increase the defense in that general area, and thus protect yourself from the strike of the thrown rock. It doesn’t take much to stop it.

[// One]

+10; 10|20

[Nira]

10/20

Ever been washed over by ocean waves? Those suckers hit harder than you’d think. If they weren’t a liquid, the damage they’d do to a victim would be enormous.

Thankfully, as a liquid, most of a wave’s force dissipates around you. Still, you have to understand how to bear the weight of an oncoming tide. If you root yourself in place and take a wave to the face, you’ll feel a consistent pushing force that fights you up front.

A lot of a wave’s force also moves around your body, pulling it back around the sides. With its nature of being a liquid, a wave attempts to move everything it has temporarily consumed. You have to deny it from moving you without sustaining damage.

To move through a wave untouched, you practically have to fly through it. Make yourself aerodynamic in a way that pierces through the water. Slash your body across it.

When you’re too aerodynamic, the water isn’t able to muster enough force against you. It’s like being a fan. If you move with a wide stance, you catch a lot of water and get blown away. If you advance with a thin stance, there’s no resistance as you move through.

The water needs to lose the least amount of force possible, and that is equal to taking the least amount of damage.

Unlike waves, falls are not something you avoid damage with. If you’re falling while stunned or paralyzed, it’s entirely up to your body when it comes to resisting all that damage.

Be loose, and a fall won’t hurt you as much. Make your skin touch, and whatever you collide with will do you no harm. Against whatever surface you’re falling to, that principle remains the same.

Of course, you avoid damage altogether if you’re in flight or have the movements to break your fall. When you don’t, you have to fall back to this principle.

At the damaging part in the end of a fall, you come to a stop. The order your body comes to a stop in is different, and that’s the bulk of the harm. Whatever part of your body collides first will be the first to stop. That halted portion of your body is then crushed by the rest of your body as it follows.

If you remain loose, like a sack, you will take the fall without harming too much of your internal masses. Your bones, muscles, and flesh will condense in the direction of the fall, the bounce away. That is the minimal harm when falling without safety capabilities.

[// One]

+10; Learned.

[Nira]

Raiton – Raiu Karasu (Thunderstorm Raven)
Rank: "C", "B"
Skill: NinJutsu
Effect: User creates birds out of Lightning to shoot at opponents.
Special: "Handseals" - Holds "Bird Handseal"
Drawback: Must learn multiple times. Birds disappear after moving further than 40 meters away from the user.
Description: User forms needed handseals and hold the Bird Handseal. User creates an amount of birds (User's Choice, Mostly Ravens) and shoots them at the opponent. Each bird is created from pure electricity, discharge into a shock of electricity when striking an object while having a 2 foot wingspan. Each individual bird has a "D" Rank equivalent amount of power when hitting. Depending on the Rank the user knows depends on the amount of birds the user is able to create, how many times they must learn the same rank before going into the next rank, how much power it takes to create the birds, and how well each bird can fly.
"C" Rank - When first learned the user is able to create 5 birds each time the technique is performed. User is able to learn this rank 10 times. Each time learned user is able to create 5 additional birds each time technique is performed, creating a maximum of 50 birds if learned 10 times. Every 10 birds uses the amount of energy equal to 1 "C" Rank Technique. Each bird has the flight capability of Poor: The creature flies as well as a very large bird.
"B" Rank - After learning the "C" Rank 10 times, user must then learn the "B" Rank version. Each time learned the user is able to create 5 additional birds on top of the 50. User is able to learn this rank 10 times giving a maximum of 100 birds created each time the technique is performed. Every 10 birds uses the amount of energy equal to 1 "C" Rank Technique. Each bird has the flight capability of Average: The creature can fly as adroitly as a small bird.
Limit: Must have Lightning Release.

0/10

Deena interrupted Alida’s session.

Enough about withstanding attacks! Let’s do a little review on doing damage. I’m gonna make you remember a special little lightning technique. It’s arguably the most damaging against fortifications, but not as powerful to a durable person.

I’m speaking of the lightning birds technique. The creation of little flight-capable creatures out of destructive sparks. The handseals for these little buggers is fairly short. Unsurprisingly, it requires the bird handseal.

To make this attack come to life, you simply need to let electricity surge throughout the air. When starting out, your limit is creating five. It’s been a while since you’ve learned this, so it’ll probably be that much again.

Concentrate your chakra into those five points when you’re attempting to allow electricity to gather. The chakra is the beacon for the lightning to exist. To make sure that the lightning can fly, the shape of the bird is chosen. Birds were designed by nature to have decent mobility, so their shape is preferable here.

When first developed, the bird for this technique was the raven, so that’s its best standard form. Still, if you wished to model them after any other bird, you can do so without any trouble. Their size will be consistent, and so will their flight abilities.

Unless you choose a bird that can’t fly, in that case the technique isn’t much use. The lightning will just be absorbed by the ground upon contact, so that’s no use to you.

With the air filled with the sparks of electric life, these birds will allow themselves to be born into the world. Starting at five, their flight capacities leave something to be desired. They can get to where you want from where they start, but it’s not as graceful as you might hope.

Until you get a real hang of it, the lightning birds will continue on with their poor flight.

Each bird is pretty much its own separate low level technique. As long as you pay attention, you can direct each bird to a separate destination. They will fly directly to their targets, so be mindful of any obstacles that might stop them early on.

There is a distance limit to this technique. None of the birds can move beyond a forty meter range from you. If they do, the chakra that fuels them will be out of your control. Once they leave your range of control, the birds break down and their static charge will be released evenly and harmlessly into the surroundings.

This technique is all about paying attention to where your attacks may lead to. Each bird is a separate entity with a separate mindset that falls under your control. As long as you direct their positions, the lightning to maintain and discharge itself.