Featherook Training Facility

[// One]

+10; Learned.

[Nira]

Continued from here: narutoforumrp.proboards.com/post/975942/thread

Shōton: Chakra Override
Rank: B
Skill: Ninjutsu
Effect: Using their knowledge of the Shōton: Crystallization technique, the user is able to crystallize incoming attacks, effectively turning them into statues and fixtures to the battle field, or use them for their own techniques
Special: Holding the Rat handseal as long as needed
Drawback: all drawbacks of Shōton: Crystallization apply, and your skill could be overwhelmed if the attack is big enough.
Description: Using your knowledge of the Shōton: Crystallization, the user is able to crystallize incoming enemy attacks to either stop them dead in their tracks or turn them around to be used in combination with one of their other techniques. You are able to crystallize as much as your skill in Shōton: Crystallization allows as far as size goes. Remember that the attack may still break through the crystal if it is powerful enough to shatter it based on your skill in the Shōton: Crystallization technique.
Limit: Shōton: Crystallization

20/40

You should try and finalize your crystallization abilities. Let's start by defining how to break though the attacks that may come your way.

Earth is a good place to start. It is a solid and rigid element that contains a general pool of substances. In a way, it is both united and separated, the substance is an even mixture is almost all cases. Only metal, a rare use of the earth element, is truly difficult to crystallize. In order to freeze attacks of this nature, you have to infect the internal areas of the earth until you've mixed your chakra into it. This is the best element to start with, because you don't need to invest so much in the other elements. Earth mixes well with most other substances, and the forms it takes will allow you to obtain whatever knowledge is needed to convert attacks into reflective minerals.

You're already incredibly familiar with the earth release, so it should come quite easily. Sand is the easiest one to turn over into crystal. Granted, it isn't exactly earth, but every particle of sand is completely separate from the next. It is very loose, so crystal can overpower it in a heartbeat. Hurling your chakra into the mixture of tiny rocks will yield some usable element without any effort.

Then there is dust, which is a step above sand. This returns to elemental earth, and it is roughly as easy as crystallizing sand. The thing about dust is that it is tiny. When dust is scattered into the air, it's a bit difficult to track down and overwhelm into crystal. Your best bet against that is just to convert it by a massive degree. Just hit the general area, and you pretty much capture the dust.

Dirt may or may not be easier to deal with than dust. See, dirt is just as small, but it has this sort of stickiness to it. Dirt is moist most of the time, and it isn't made up of things like tiny stones. Dirt has a large amount of decayed dead. It is a grave of nature's creation. It is easy to spot, so it is easy to hit with crystal chakra. Dirt is unified, with each part interconnected with the next. If you let your chakra ride along that connection, you can convert an entire field of dirt while letting it do the work for you. As long as you can expend the energy, you can turn all of it into shiny minerals.

Next up is mud, which is almost its own element, as a combination of water and earth. However, it is largely bound by earth, and water is not always necessary to produce the effective substance. Mud flows, which is both a benefit and hindrance to crystallization. Unlike the previous substances, which you only need to fit around with your chakra, mud requires you to push it away. Fluids have a habit of fitting into any hole in your reach. If you don't push back, it'll flood you. So, when dealing with mud, you have to practically attack it with your chakra. Have the energy be durable enough to pierce through and root itself within the substance.

[Nira]

?/40

Up next is stone, which is completely solid. A mass of stone resists change whenever it can. It does not want to be displaced, so it is even more difficult to deal with than fluids. To dispose of an immensely stiff opposition, you need to visualize cracks on its surface. Think of how a rock looks when it breaks. Think about the cracks that run along the surface of a damaged piece of glass. That is the route that must be taken with your crystal chakra in order to convert the stone into your own usable substance.

To initialize the process of crystallizing a large chunk of stone, you have to arrange your crystal chakra like a spear. Have it pierce the surface of the stone to begin the breaking process. As the tiny cracks of the damaged stone forms, let your chakra fill into those gaps and expand them. It’s like a quickened version of the process where water freezes while it’s in the cracks of something.

Water freezing into ice after it has been absorbed by solid substances brings about a huge amount of destruction. It’s more than the eye can see, but the damage is there. A foundation can be permanently ruined if it is flooded, and then frozen. Your crystal has to do the same type of damage at a more powerful scale. You are not converting a liquid substance into a solid; you are destroying one solid to make a better one.

There’s also the issue of, well, crystallizing attacks are all. Usually, small attacks are nothing to worry about. You don’t even need a technique to take care of most attacks. Once you crystallize a solid substance, it’s done for, and crashes down. The need for this technique is to stop enormous forces, those at the very edge of our crystal creation limit. This includes problematic attacks such as boulders being thrown at your from afar.

To also put an end to the momentum of the attack, you need to anchor it with enough force to transfer all the energy away from the target location. This can be accomplished in one of two ways, depending on where the attack is heading towards.

If the attack is humble, you can attach the crystal to the ground and have the world hold it back. The force of the attack will be moved into the crystal, before being absorbed by the floor. Otherwise, if you’re receiving an attack while in the air, the principle goal is to produce enough crystal so that the mass is too great for the force to have any significance.

Think of it like a pebble. A pebble thrown with all your power will do a nice amount of damage to whatever it hits. The damage is in a centralized area, and the pebble itself will be moving at a fast rate. However, if you were to crystalize the attack, if you were to make that pebble into a slab of rock, it will not be able to move as fast. The energy used to hurl a pebble at high speed can’t possible move a large slab of stone at the same speed, so long as weight is a factor.

So, with strikes not bound to the earth, have them be crystallized in a way that wastes the original moving force.

[Gohan]

+20

[Nira]

Hifuko Me-Kuo-Ba (Clothing Make Over)
Rank: C
Skill: Ninjutsu
Effect: Changes the users clothing
Special: "Hand Seals"
Drawback: Only works on the users clothing. Cannot change the colors of the fabric unless you are blending two colors into a third, such as blue and red to make purple. Cannot create slot holding items,
Description: Using their skill at manipulating fabric the Karinui have discovered how to re-arrange their clothing if need be. After performing the needed seals the fabric of the clothing will ripple and the fibers will move at the users command. This can be used to transform shirts and pants into dresses, kimono into pants, and any other number of possibilities.
Limit: Must be a Karinui. Must Know "Sankuchu-ru".

0/10

Tanni's voice echoed in the mindspace.

You know, we spend too much money on clothing, and it's not very fun out in the field when we switch between ourselves. We should definitely invest in a technique to save on that, and the Karinui clan's principles should be a big help with that. If we can develop a fabric control field around our body, we could manipulate our clothing into different shapes without using too much chakra or effort. It's definitely something to use for social events, cause we can throw on a bunch of stuff and manipulate the threads into a formal shape.

To achieve that effect with the close range chakra field, we have to make the chakra attract the essence of every weave. The patterns must be unbound with ease, so that it doesn't tangle when it is reshaped over out body. If the chakra over the threads are made slick, as if every single one were an oiled tube of metal, then moving them around one another is a breeze. Duplicating the effect with the energy field shouldn't be too big of a problem, as long as you properly focus on the nature of the threads.

There's nothing we can do about the color, unless we mix together fabrics that give the illusion of such a color. It's a bunch of strings though, so the effect might be a bit tacky. It's better to just wear plainer colors and focus on the shape of the clothing.

Since we have some knowledge of seamstresses, there's not much worry over having clothing fall apart on us. Still, just to be sure, we can also use chakra to pin some cloths into place while we work on them. The reshaping process requires a fair bit of concentration, and if we lose concentration, the threads might fall out of order.

When we get a bit more experience in the creation process, we will be able to create blueprints of the clothes. We can estimate the amount of threads each piece of fabric on an outfit will have. If we then have it be arranged symmetrically, the process becomes a lot more automatic.

Thread arrangements tend to be parallel to one another, after all. Once you have an idea of what is needed, the process can be turned into a straightforward system. Be mindful of thread count if it’s available information on an outfit that we like. It simplifies the steps for us, and we won’t need to go through something ridiculous like counting each individual thread.

Then there’s the matter of curves, stitches, and angles. After we’ve crafted the fabric into new shapes, we need a physical binding that keeps it in place. We only need to take a few long threads and imagine sewing them into place. Upon doing that, the need for chakra will be eliminated, and we can drop the field and wear our new clothes.

To speed up the process, we’d have to have the image of the outfit we want. Our memories are extensive, and we can draw the cloths from there at a fairly quick pace.

[Celaena Kamyuja]

+10.

[Nira]

Janice Knight began to whine. "You never consult me for techniques! Let me have a go at it, I just remembered some good ones!"

Tarah merely shrugged. She wasn't trying to ignore Janice, the strength techniques were just a bit more appealing. However, as a shinobi, Tarah had a lot to benefit from Janice's experience as a spy.

---

Third Eye Seal Placement
Rank: C
Skill: Ninjutsu
Effect: Places the seal on an area the user wishes
Special: handseals
Drawback: The user can only see through one seal at a time, and it requires 1 full turn to place it.
Description: Forming the hand seals, the user draws the seal on the surface they desire. Then infusing it with a small bit of their blood and chakra the seal is ready for use.
Limit: None

0/10

Long range seals serve spies like me the best, and it should serve you well, too. One particular series allows you with a web of communication all throughout the world, if it is what you wish. It is the facial series, and it starts with the third eye seal. This is a seal that provides vision at the highest degree. It allows you to see through a seal as if it were another eye, using chakra to connect to the vision instead of any nerves.

The first step is to place the seal upon a target. The seal is drawn from chakra and blood. It is linked to the cells of your body so that you may reach it without limit. You only need to draw one part of the initial seal. After that is drawn, its transformation into a looking eye is dependent on your chakra. Due to this, you need to be careful with how you code your chakra and how much blood you use. The seal needs to have enough substance to transform into the working condition at a moment's notice.

The appearance of the eye seal is the most straightforward and simple. It is only a single line. You only need to make it so that it’s long and thick enough to split open. The blood that you infuse into the creation of the seal must also be geared towards vision. You don’t literally have to provide blood from your eye, because gods that would sting like no other, but you do have to modify the blood with your chakra.

Your chakra must act like a visual receiver. It must be ready to take in a chakra signal that you send out. It’s like keeping a chakra absorption effect in place indefinitely, which will always attempt to absorb your own chakra in particular. After the chakra is absorbed, it should transmit back, forming a link that lets the seal interact with your visual receptors.

At the same time, the seal itself has to activate. It has to open up in a way that receives light signals and converts them into the chakra transmission. This is done with the chakra modifying the blood of the seal. It transforms it visually, opening up like a blinking eye. A circle will form in the middle out of the substance, and it will be what gazes into the light in your place.

This is meant to be a direct link that can be activated a world away. Placing the seal requires the upmost care. You have to set all of these commands in advance. There’s no way to change how the seal works after it’s been place. Once the blood is laid down and the seal is drawn, it’s finished. A failure in the set protocol will cause the seal itself to fail. It is a task that must be completed with great care to details, so that the commands link up with your vision as if you were one whole being.

[Celaena Kamyuja]

Wow… Awesome!
Plus Ten.

[Nira]

ooc: Thank you Sita ^_^

---

Third Ear Seal Placement
Rank: C
Skill: Ninjutsu
Effect: Places the seal on an area the user wishes
Special: handseals
Drawback: The user can only hear through one seal at a time, and it requires 1 full turn to place it.
Description: Forming the hand seals, the user draws the seal on the surface they desire. Then infusing it with a small bit of their blood and chakra the seal is ready for use.
Limit: None

0/10

Drawing the seal of the ear is physically the most detailed, but is a lot less draining in terms of energy. This is because there isn’t a lot of movement with the seal when it is activated. It simply remains as it is. There is a bit of twitching every so often, but so little that one could barely notice it. Since there’s no need to transform the seal itself, you only need to retain the chakra reception trait.

Hearing involves the recognition of vibrations in the air. Whatever molecules of air do as they bounce upon the surface of the seal, it must be recorded and translated into something that an eardrum can decipher. A simpler way to think about it is to consider the seal as a large eardrum you can connect with. That is the core of hearing.

In order to transfer the sounds picked up by the seal, the vibrations in the air around the seal have to be translated into a coding that that travel through the chakra connection. It has to be something simple, yet still retain all the complexities involved with sound. To begin this process, you have to first consider all noise to be merged and together. If two people speak at the same time, it must be considered one voice, not two separate ones. Sounds divided into layers like that will be extremely complicated in code form.

Music is one of the best direct interpretations of this, although Tanni knows more about that subject than I do. I can at least speak about the fundamentals. Most forms of music are carefully arranged patterns of layers. Those layers spiral down into countless tessellations. A simple song can be a soothing voice against a melody. When you break it down, you can pull out the tune, where excitement tends to be sung against a high tempo.

The combined song is what is translated onto the code on a seal for the third ear. A mixture of noise will seem unique, but you must consider it to be one thing. The sound of a drumbeat and a trumpet call going off simultaneously must register as a single note, not the product of two notes.

Another thing of note is that you have to pay attention to the shape of whatever you are placing the seal upon. The shape of the receiving surface could alter the reception of a sound. You have to compensate for the type of surface that the seal is placed upon. A rigid surface is easy, since it readily absorbs the energy in the air, including the vibrations related to hearing. Softer surfaces absorb sound differently. The effects might be damped, because the surface of the seal could be moved by the intensity of the surrounding noise, making the noise transferred into the actual seal far more different.

Now, since the sounds absorbed by this ear will be transferred to you via a chakra connection, there’s no worry about illusions and other deceptions. Only the pure noise is transferred through the chakra connection. Effects that affect our mind can’t be transmitted in the opposing chakra force isn’t present within the sound.

[Celaena Kamyuja]

Plus Ten. Again lol

[Nira]

Second Mouth Seal Placement
Rank: C
Skill: Ninjutsu
Effect: Places the seal on an area the user wishes
Special: handseals
Drawback: The user can only speak through one seal at a time, and it requires 1 full turn to place it.
Description: Forming the hand seals, the user draws the seal on the surface they desire. Then infusing it with a small bit of their blood and chakra the seal is ready for use.
Limit: None

0/10

The shape of this seal is on par with the seal of the third eye. It is fairly simple, not much more than a straight line. The transformation associated with the second mouth seal is also nearly identical with the third eye. The line parts in a way that represents open lips. The main difference is that the mouth part is more significant, and there is no additional shape between the lines.

Due to the size of the parted lines associated with the second mouth seal, room has to be made. It cannot be restricted. For the seal to grow, the surface must be wider than the initial line. That means the seal itself has an invisible territory in the surrounding surface. It isn't used until your chakra charges it up.

Unlike the other facial seals, the second mouth seal has a significant difference. Instead of the other two seals, which transmit to you, this one is supposed to receive a chakra code from you. The other seals give you visual, audio, and aromatic information. This seal requires you to provide audio information for it to release. It is the reverse of all the others, so the chakra nature of the seal must be modified appropriately.

The blood used for this seal must be kept more active than the others. The other seals spring to life and react. To use the second mouth seal, you must have the blood open the gates necessary to provide in a long distance. The seal has to be strong enough to imitate all the necessary processes that produce a voice. When it is placed, it has no lungs to provide the air that fuels the voice. There is no neck, for which to concentrate that air through the larynx. There are no teeth or tongue, with which to craft the final sound.

The seal operates entirely by itself. Like the third ear seal, it must function with vibrations. Thankfully, there is no need for a complicated chakra code. The sound provided to the seal is a single layer, consisting of your voice. That is the only pattern that needs to exist in the chakra link between you and the seal. It is the only link that the blood within the seal needs to be charged with recognizing.

To produce your voice through the seal, you must add vibrations to the surface of wherever it exists. The seal must be rooted into where it is placed. As you speak and provide your chakra, the seal must replicate the effect your voice normally has on the air. That involves a form of translation.

From your mind, you hold a sound you intend to release. That noise is usually released after careful control of several organs. Those signals, the control of the organs, must be translated instead into a pattern with set sounds. When that pattern is converted into a code within the chakra and sent to the seal, the seal may vibrate its surface at a rate that releases the intended sound.

[Father 'Suke]

+10; well done

[Nira]

The Third Eye of Enlightenment
Rank: C
Skill: Ninjutsu
Effect: Allows the user to use one of the seals they have placed to see in a certain way.
Special: Handseals if the seal is outside the thread you are in, otherwise you may simply activate it with a small burst of chakra. A user may have multiple Facial Seal Series Seals active and working at once, but no more then one of the same type.
Drawback: the user looses the use of one eye while its in effect. The user can only see through one seal at a time
Description: This technique allows the user to deaden the optic receptors within one of their eyes, and instead reattach them over a long distance through their chakra to connect to one of their seals. With this they are able to use the seal as if it was one of their eyes. It is acceptable to “sacrifice” the site of a damaged or lost eye to use this so as not to sacrifice their bad eye. The chakra it takes when actually viewing through the seal is negligible.
Limit: No Shitakuma clan members may use this.

0/10

There are two forms of activation for the seal of the third eye. Those forms of activation are consistent with all other facial seals. There is the burst activation and the continental activation.

The burst activation is the simplest one, so it is the one that we will start with. When the seal is in close range to you, it should automatically activate as soon as it receives your chakra. Thus, if you do a burst of chakra at close range, you’ll immediately hook up and establish the connection. The nature of the burst must be centered on one of your eyes.

When using the third eye seal, you temporarily sacrifice one of your eyes. The connection that the brain normally shares with that eye becomes the chakra burst. It is like a river flow. The riven is the connection, and the sea is your mind. Normally, the flow is direct. What is seen by your eye travels down that flow until it reaches your brain. This is the flow you must intercept for the seal.

While sacrificed, the river flow of visual information is being blocked by a dam of your making. This dam stops the flow from your eye, and leaves a largely empty channel for new information to flood in from. Through the effort made by your chakra, you can deliver a new flow of visual information from a new source. The light that is captured upon the surface of the third eye seal gives new waters to the sea of your mind.

That was the burst, a sudden stoppage and linkup with a diverting dam. The other form is a lot more precise.

You have to carry the sight of the seal back along the path, but it is hard to do it with a burst when the seal is too far away. The amount of chakra required to send a burst grows too great when the distances are too far beyond standard sight. Instead of that, the alternative method is to deliver a single returning pulse that’s set to establish a line of connection between you and the seal.

The alternative method of a chakra line connection requires handseals. It is far more complex than the burst, so it requires more precise chakra molding to get it right. The idea behind the method is much like an echoing cave. You provide one shout that expands deep into the cave. When you hear the signal return as an echo, you latch onto that echo and forge it into a connection between you and the target. Usually, echoes bounce off something like a wall, but chakra is not hindered by things such as that. Chakra goes on, it is a piercing energy, and in this case you lace it with the connection to your sight.

As the pulse of chakra is delivered to the world, you have to set it so that it bounces back under only one specific condition. It should only bounce back if it makes contact with your seal. You can have multiple seals set up at once, so be sure that the eye seal you’re using is uniquely marked beforehand.

When your chakra bounces back, retrace the path it took to set up the connection. At that point, your eyesight is sacrificed for the moment, so that you can turn the surface of the seal into your new eye.

[Father 'Suke]

+10; learned another way to go.

[Nira]

ooc: A big thank you to ya, Ryo ^_^

---

Third Ear of the Rat
Rank: C
Skill: Ninjutsu
Effect: Allows the user to use one of the seals they have placed to hear the sounds in a certain area. This seal is often used for those who are deaf to hear once again.
Special: Handseals if the seal is outside the thread you are in, otherwise you may simply activate it with a small burst of chakra. A user may have multiple Facial Seal Series Seals active and working at once, but no more then one of the same type.
Drawback: The user is unable to hear out of one of their ears while active. The user can only hear through one seal at a time
Description: Covering their ear with their hand, the user connects their ear drum to the seal via their chakra, allowing them to hear everything in the area of the seal as if it was a normal ear, but cutting off sound to their immediate area.
Limit: Third Ear Seal Placement

0/10

The activation sequences of the other seals are the same as the third eye, so there’s no need to focus on that. The Third Eye is definitely the easiest to link to, though. The eye provides the most conscious information to our mind. It is among the senses that we pay the most attention to, and so it is easy for us to establish a new link to it. Following that, we need to pay a bit more attention to how we link the others.

Hearing, as useful as it is, does not provide a lot of information we focus our minds on. It informs us much about what we already see, but only if the object makes sound in the first place. Footsteps are a very simple sound, but can direct us to a hidden enemy that we have little visual on. That is only a single factor, despite its usefulness. The information provided to us by it is not as usually as seeing an enemy in motion.

You have a better connection with your hearing than most, thanks to your bard experience. There’s one technique in particular that you know, which can assist us in establishing a connection to the seal of the third ear. It is the technique of the vibration message.

Much like what you are meant to do with the seal, you have a technique that transmits a particular vibration from one location to the next. In the case with the third ear, both locations have an anchor that better allows you to transmit your chakra.

First, one ear must be sacrificed. The connection of hearing that normally goes from your ear to your brain must be separated into an open connection. You then take the link to your mind and throw it towards the seal so that it may act as the new second end.

The seal has to be treated like a large, inefficient eardrum. Our eardrums are designed to pick up all the subtle vibrations within the air, but whatever substance you place a seal on will be unable to replicate that delicate sensitivity. Instead, you have to take control of the quantity and use it to replace quality. The seal takes up more space than your eardrum. It naturally makes contact with more vibrations in the air. By gathering all those vibrations and concentrating them into the blood and chakra of the seal, you’ll have a form of hearing that perfectly matches your own.

One useful item of note is that the chakra connection between the seal and your ear is direct. It holds only the physically made sound that takes place around the seal. Thus, while using the seal connection to hear, you don’t have to worry about genjutsu and other chakra effects that depend on sound to transmit.

Hearing sound from two separate places at the same time can be dizzying if you’re not used to it. When you have the technique in effect, don’t focus entirely on one ear. Due to the drastic difference in sound, a sudden noise from an ear you’re not paying attention to can break your hold on your bearings. The confusion can lead to headaches.

[Father 'Suke]

+10, so many seals :D

[Nira]

Second Mouth of The Serpents Tongue
Rank: C
Skill: Ninjutsu
Effect: Allows the user to use one of the seals they have placed to speak to a certain area
Special: Handseals if the seal is outside the thread you are in, otherwise you may simply activate it with a small burst of chakra. A user may have multiple Facial Seal Series Seals active and working at once, but no more then one of the same type.
Drawback: The user is unable to speak out of their normal mouth while active. The user can only speak through one seal at a time
Description: The user will close their mouth and look and feel as if the lips are sucking inwards. During this time, their chakra connects their vocal chords to the seal wherever it is. This is great for long distance communication, but with this alone its difficult to tell who you are talking to.
Limit: Second Mouth Seal Placement

0/10

In some ways, the second mouth is among the easiest seals to use out of the facial series. Since you only have one mouth in the first place, there is no chance of sense confusion coming from the temporary sacrifice of that part of your face. When you speak, it is said as you intended it, but from a difference source.

There is a new form of confusion, though. In this method of use, there is a chance you won’t be able to hear what you’re saying. It all depends on how far this particular seal is from you.

For your entire life, you’ve spoken, and heard what you have spoken to others. It will be a great surprise the first time you speak without hearing what you said at the same time. The sensation of transmitting your voice into a chakra code is also rather awkward.

When you speak, air pushes out from your lungs and into your neck. From there, your larynx will vibrate as it condenses the sound. Your tongue, teeth, cheek, and lips will then modify the concentrated air into shaper tones, so that you may forge words out of your voice. In this process, you are cutting out everything except for your lungs.

In the process of using the second mouth seal, you can’t stop breathing. Obviously you’ll die if you stop. However, it is an impossible task to talk and breath at the same time, yet using the seal will make it feel as if such a thing is taking place. Your lungs will continue to pump air in and out of your body, but the motions that usually craft a voice will have their jobs imitated by chakra.

You will effectively have to recreate a few of your organs as ethereal chakra puppets. If you want to rely a bit more on the air you breathe out, you can also have your body set so that the air leaving out through your nose gets recorded into the chakra signal you send to the seal. So long as you can properly translate the air motions into a voice signal, you can take away a lot of the effort needed to imitate a voice.

Your mind will can act as the new crafter of words in place of your voice box. The air record will become the signal to express the words that have formed in your mind, and the seal can automatically do its job and translate all those separate charka signals into audio.

Unless you have an ear seal next to the mouth seal, you won’t be able to hear yourself speak. As you might have heard from deaf people, not being able to hear yourself makes expression through voice rather odd. Things can usually still be understood, but not having a personal check on your own voice can make the results unpredictable. There isn’t anything you can really do to fix that, but it’s something to keep in mind. At the very least, you can imagine the sound as well as you can in your mind during the voice forging process.

[Father 'Suke]

+10

[Nira]

<Training room component in use: +1 training point bonus>

Deena sat upon her crystal throne, and gazed down upon Tarah. Between them, a fire floated in the air, resting nowhere and burning nothing. It only served to extend the shadows on Deena's face.

"Tarah, it's about time you returned to the art of fire," said Deena, with a wicked grin on her face. "My life was filled with the most fiery of conflagrations. It shall be a key in reconnecting with that art. Let your chakra burn, and remember me."

---

The First Sun of Deena Baycloud.

A teenage Deena, battered and tired, climbed up the dark mountain of Yeiloua. Her city, the Black City of Feebsmook, was visible off the mountain side. Deena didn’t want to go back there. It was brewing with evil, feeding off the darkness of this corner of the world. Yeiloua was among the smallest of the mountains here. The city itself was located in watch can only be considered a colossal ditch. Humongous mountains surrounded the city on all sides, hiding it from most of the sun. Only a scarce couple of hours are lit during high noon.

Deena wasn’t old enough to escape. Only soldiers and high ranking merchants were ever let through the border. The darkness here was her prison.

However, at the very top of the mountain, her salvation awaited.

---

Futon: Bursting Sun
Type: S-rank
Effect: This jutsu is designed to completely overwhelm the opponent in phoenix flowers by an extremely bright orb bursting into a flurry of fireballs. offensive (100 meters at the most)
Special: Boar, Ox, Rat, Rat, Dog, Snake, Ox, Sheep.
Drawback: The user is also in range of this attack if not protected properly.
Description: The user performs the necessary handsigns and quickly launches a bright sun like orb into the sky from his/her mouth. While blinding the opponent, the orb bursts into many fireballs completely showering the area. This jutsu has the potential to easily destroy a forested area in an instant! the force of the fireballs are close to the force of small meteorites that would launch from the atmosphere, thus sending not only bursts of phoenix fire to do major damage, but the shockwave from the impact fiercely blowing away anything that’s not properly protected ( some sort of very hard substance, ex, steel)
Limit: Fire Release required

0/100

There was a dead man here at the top of the mountain. Deena recoiled in disgust, and was about to leave the area, but then she spotted something laid next to the corpse. It was an open book, with worn and ancient bindings. Deena slowly inched toward the book, and gazed at its pages.

At the top of one of the pictures, there was a symbol of the sun, drawn with black ink. The letters were highly faded, but Deena could roughly read out how this was a spell to call out a sun.

A sun was a source of light; it was something to erase the darkness that plagued her city. Criminals wouldn’t be able to hide any longer if the sun could shove its brightness into every corner. Deena grabbed the book off the ground. She hungrily read through its instructions, deciphering what was needed to call out this ray of hope.

The words were written in a strange language, yet Deena was able to make some of it out, despite not fully recognizing it. This oddity was ignored, the effect was attributed to as an enchantment upon the book.

Upon the texts, Deena read out how the sun that had to be created was a contained explosion. It went on about how the actual sun persisted by its sheer size. The sun was theorized to not be a ball of fire, but a never-ending explosion held together only by its vast greatness.

The theory was ludicrous to Deena's eyes. She couldn't imagine such a thing. Explosions happened in an instant, and then they disappeared, that was the heart of it. Thankfully, the spell inside the book used an alternate method that seemed more reasonable.

[Nira]

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The energy source was thankfully something Deena was familiar with. To avoid various hooligans, she had been taught to scale walls with the power of the energy described in the book. She was so good that she could even walk upon water, since her control was unnaturally high.

For this spell, the energy needed to be channeled into Deena’s mouth. She needed to be able to call forth a huge amount of the energy source. To summon a sun required a sudden burst of immense heat. That process had to be started after the energy was released out of the mouth. If Deena made a misstep, she could burn her mouth apart, so she was rightly cautious.

Starting small was the step Deena went with. She decided to focus on one factor at a time. She wanted the sun to stick together after it was released,

The energy, chakra, surged from within Deena. She let it ripple to the palm of her hand, and felt it seeping from the skin. The energy came out in a small spiral, it twirled as if coming out from a great maelstrom. Though it spun with great force, the air was undisturbed.

Deena held the twirling energy up to her face and felt it tickle her nose. The potential for warmth was there, but it was almost ridiculous to think that the fire could sprout something so massive. She could only be sure, somehow, that it was within the realm of reality. As if to prove it to herself, she let the chakra gather into a great mass, before exploding out as a sultry rush.