Shouta's Training [T/P]

[Nira]

Standard projectile mechanics, with a touch of heat considerations. I see you're pretty dedicated to the net visualization.

+10, Learned.

[The Creator]

Katon: Daitou (Fire Element: Longsword)
Rank: "B" Rank
Skill: NinJutsu
Effect: The user concentrates their chakra along the palm of their hands. As the user does, so they are capable of creating a longsword like weapon made out of fire out of the palm of their hand.
Special: "Handseals"
Drawback: This technique tends to burn the user's hands and is only capable of staying out for two rounds with a five round rest before the hands suffer great damage. For each round the user keeps the fire Blade out past the two rounds the user is unable to use that hand for ten rounds.
Description: The user creates a large blade made out of fire along the palm of their hands. The user does so by creating a few handseals and holds their hands near their body. The user takes in a deep breathe blows out the air towards the palm of his hands. The user then blows in a straight line away from the user as the fire begins to formulate around the palm of the hand creating the large blade. This technique is capable of being used as a quick defensive style move, or may be used as a split offensive slashing attack.
Limit: Must have the Fire Release

60 TP

I was in class, as I always seemed to be, bored out of my mind. I hardly paid any attention as most of this had already been learned in books. In fact, it was because of my memory and these books why I was graduating top of my class. I was no genius, just good at class work. I was thumbing through some chakra book and..woah now here's something interesting. A sword of fire? Something out of a myth...let's see.

"The Katon: Daitou is a powerful technique developed by Jounin level shinobi in Konohagakure. It is a stark and ingenious manipulation of fire that allows the user to wield it like a longsword. This is difficult, however, because the sword is made of pure fire and behaves as such.

"Katon: Daitou is herein described in multiple aspects so that it might be easier to learn. The secret has long been out of Konohagakure and is now wide spread. The user uses their knowledge of Katon in order to manipulate the shape of a fire into a blade. This usually takes several attempts and it has been found that creating a long bar of fire and refining the shape is the easiest method. The user will then go on to learn how to manipulate the fire as if it were a blade. This requires knowledge of the manipulation of fires at a very keen level in order to be performed with swordsman techniques. This is where many are deterred: the constant movement of the fire while constantly changing its boundaries in space is no easy task.

"When these two aspects of the sword are mastered the user may begin to work on performing this technique over and over to increase the familiarity with the creation and mobilization processes." It ended there. I, at the time, hardly knew how to make fires in the first place. Ah well, I'm sure I would remember this for some time in the future when I was ready to learn it.

I pulled myself from my memory, taking a second to readjust myself to the here and now. The book went over almost everything that I would need to learn the technique. Chakra nets, I felt, wouldn't work here. The shape would be too complicated. I thought of a bubble, like the ones you where you dipped the wand and blew on it, and how it was just a small, film like substance that held air. I had used this kind of chakra before for advanced techniques and it would work best here. Much like a bubble holding air, this bubble, shaped into that of a sword, would hold the energy of fire. Shaping such a bubble, however, is difficult work and if I wanted to slash someone open the bubble would nullify the burning damage. I would have to build it with a bubble and then, perhaps, cast a chakra net over it and disperse the bubble. Yes, that might be the best route.

As for the movement of the chakra blade, I would have to learn how to deftly manipulate the chakra net to parallel the movement of the hand that held the sword. That would make things particularly difficult. I had no doubt that this was a Jounin level technique as I finished my plans: it was going to take quite a bit of skill.

[The Creator]

60 TP

The plan was set and I was ready to begin the training. Due to the nature of the technique I would be forced to segment the execution of the plan into several steps. The first one of these steps would be the attempted formation of the blade. I formed the Handseals to the technique which would allow the chakra bubble to form. I was not extremely skilled with such a training form and thus only able to initially create a block about 3x1x1 cubits. I filled it up with chakra from my breath, igniting the air that had been trapped inside. A blaze ensued, forming no heat and only being fueled by chakra.

But, being only a block, it was not up to par. And if I attempted to move the block it would only be a transformation in one dimension in 3d space (I had read a little on Chakra Shape Transformation once). In any case, one step at a time. I began to sharpen the bubble by making bubbles just under the first one and subsequently popping the top one. I left a little for the formation of the hilt but continued to sharpen the end to a point.

After a while it eventually became a pyramid of flame. It ended at a sharp point and at one end, the end which faced me, still held its rectangular form. I began to work on making the blade a bit more blade-like by flattening the end. Making it into a blade was easy in the beginning but soon the cuts needed to be finer and finer. I eventually got nervous and worked on making the blaze into a narrow cylinder with a pointed tip. The resulting shape was a block which would become the hilt connected to a thin cylinder which ended at one end at a point.

I needed to continue to shape the cylinder into a blade so I began to flatten the cylinder into a flat shape which would more closely resemble a blade. I found that the training was draining my chakra rather quickly as it cost quite a bit to make these bubbles to begin with. I decided to take a break after that, remembering the shape I had made, to regain my chakra to start again.

In training techniques I found that it was often a process that took quite a bit of attempts, with rests in between. The formation of the technique would not be hindered by these breaks, though, because of the way my memory worked. I decided to get some lunch so I put on clothes and trekked out into the city.

[The Creator]

60 TP

I returned feeling refreshed and ready to complete the formation of the technique. As I recalled, the technique had been left off by the formation of a blade at the end of the rectangular block. It was without much difficulty that I was able to make that chakra bubble which underneath I began a fire. The blade, as I had left it, was only a prototype of what it would turn out to be. It would have to be a weapon of both slicing and burning capabilities and thus would require a fine blade much akin to an actual forged one.

I began to slowly work on sharpening the blade. Perhaps the training was close to the Chakra Blade technique training but i knew that one was a much more difficult technique; this one was not so sharp. Of course, it would still hold all the capabilities of a regular longsword. The rest of the formation of the blade was a lengthy and tedious process which I will not continue to recount here. Let us move ahead to when I finished the blade.

I would have liked to test the blade against something but, unfortunately, the secrets of moving this thing were still unknown to me. I would work on making the guard and the hilt before he blade would be done. The hilt was rather simple and I would attempt to make it as comfortable to my hand as possible. I wasn't sure it would matter much facing the fact that I was gripping fire but every little bit would help. I worked on making a prismatic hilt with rounded edges. I put grooves into the hilt which would fit my fingers precisely. There were no need for decorative patterns or additions because it would be indiscernible against the flames so all that was left was the guard of the blade.

The guard would be a simple circle of flame which, as I began to think about it, would probably hurt my hand more than without a guard. But I had cut myself more times than I have liked and the feeling of flesh being carved, layer after layer, sent a shiver down my spine. It was not the dull aching of a cut but the constant recounting of the flesh being sliced that really hurt. No, the guard was necessary. I would then shape a thin circle between the blade and the hilt that would not only increase the force I could put forth for piercing techniques but also keep my hand from slipping down to the blade. After that the blade was completed. It blazed in an intimidating fashion and as soon as I learned how to wield it, I would surely become a frightening warrior.

[The Creator]

60 TP

The most basic or chakra projections in 3D space were propulsions. That meant basically pushing an object in one dimension along a projected line. Kunai, Senbon, and techniques of that nature were creations of a projection dimension chakra movement. This technique was advanced because of how it required such advanced movement. A horizontal slash would require 1 dimension, a vertical slash would require 1 dimension, a diagonal slash would require 2, and a full arcing attack would require all 3. This was discounting more advanced relativistic chakra movements which I had not really understood but had read about.

I would begin by attempting limited 1D movement with the sword and then attempt the more complex 2D movement. It was only after that that I would attempt the 3D chakra movements. Then when I had mastered that I could attempt to learn about rotations of the blade which I thought were probably unnecessary but I knew my skill in sword combat was low and wanted to know about sword rotation just in case.

I began my training by attempting to thrust the sword. The blade was still in its bubble form and would need chakra to manipulate it; my grabbing it and attempting to move it would have little to no effect. Unlike a senbon or kunai, or even a fireball, the thrust would not be long-distance. Because of this I had to worry about the way the blade behaved: a thrust would not shoot off like a projectile and thus a force had to stop it from doing so. That is why I had initially labeled the training as a "limited 1D" movement.

I attempted a thrust but had not put enough force to stop the movement. The blade then flew forth a bit before burying itself in the ground. Well, at least the tip was sharp, I would think to myself. To pull it from the earth would require a harder movement: if I did not limit it it would come back and hit me in the face. I was careful in making the movement and had put enough force into the opposite so that I could successfully pull the blade from the ground. I attempted a couple of more thrusts using the same force mixture I had just used, executing them flawlessly. Next would be 2D movement.

[Captain M]

40/60 TP!

[The Creator]

20 TP

Advanced 2D movement was usually the result of triangular geometry. It was a combination of movements in a linear formation and then combined to make a triangle of those lines. This was a tedious and mathematical process if one wanted to define exactly the specifications of a shape in 2D space but, much like muscle movement, one did not need to know the numbers to make the actual forces. Muscular memory was technically a subconscious understanding of the numbers needed to make an exact movement: if you wanted to throw a ball 10 meters you would begin to know how much force to give the throwing arm by the number.

In that way, learning 2D movements was like relearning how to use your arm. Much like a painter learning how to fine-tune his own system so that the brushes follow exactly what his mind's eye beheld, I would have to learn how to paint strokes with this fiery blade.

I began with shallow diagonal cuts that resembled nearly a straight line with some deviation. It was difficult but the angles eventually grew more and more until finally, just as the sun was setting, I was making 45 degree angles in my cuts. That was a perfect combination of the two dimensions. Tomorrow I would begin learning 3D movements.

The 3D system worked very differently. There were multiple ways to look at a 3D movement but I had settled for a more exotic way that was only slightly mentioned in class and held back behind the conventional standard. The way that I liked defined a point by how far from the origin it was, the angle between the xz-plane and the yz-plane, and the angle between the z-axis and the xy-plane. Assuming the origin was me and the length would be the length of the blade plus the conditional extension of my arm, the other factors would be changed with swings in 2D motion. The only 3D addition was the depth my arm would reach; cutting "through" 2D was like cutting "through" several sheets of 2D "paper".

In any case, with that settled, i retired to rest after a hard day of training.

[The Creator]

20 TP

The next morning broke and woke me with its typical bird songs. I went through the routine and found myself in the garden half past eight.

The surfaces of circles are made up of an infinite number of arcs. Even a small sector of the surface of a single housed an infinite number of arcs. I had thought of this as I drifted off to sleep last night: use a chakra-created circle sector to create arcs which would be used as slashes for a weapon. I would simply create an attraction between the tip of the fire blade to that of the circle and move the force in an arc shape.

I formed the sword and did this a couple times. Instead of jumping straight into 3D movements this would help me figure out the fundamentals of such movement. The basis of them lay in deep mathematics that I really didn't understand, a complex trigonometry that often took hours of computation. But, as mentioned before, muscle memory knew no numbers.

A 3D movement was typically like a thrust combined with a slash. This really was the most typical kind of sword movement simply because the momentum of the thrust combined with that of the slash was the greatest amount of momentum that could be created with the least amount of energy expended. I began by practicing these which were absolutely sloppy at first. They were jagged movements that jerked my arm in an uncomfortable manner but I soon began to find control.

By noon if one were to peek over the fence he might find himself looking at an aspiring swordsman practicing with a very unique sword. He would find flaw in his fundamentals, no doubt, as I was untrained with them, but he would not find any odd physical phenomena occurring from this chakra-controlled blade.

[KoKoKo]

Plus 17

[The Creator]

3 TP

With 3D movements mastered, I would move onto rotation techniques. The blade, of course, would need to change orientation to be of the most use. It would do no good for all of the strikes to be of a horizontal orientation, in fact, even defensive measures would require the rotation of the blade.

Rotation was not as difficult as an actual movement. All objects had three natural axes of internal rotation, aeronavigators used terms like "pitch", "tilt", and "yaw" to describe them. The sword would have an axis that, when pressed down on one side of the axis, would rotate in a circular fashion. The rotation necessary for this tech required an axis parallel to the length of the blade; it was this axis that would make the blade spin and turn to change the orientation of the blade's edge. So, with little force, I experimented with the rotation.

It was not difficult to master quick & minute rotations of the blade. Before long it was as if I was practicing with a real blade. But real blades, I learned, didn't burn your hand to a scarred pulp.

I silently spent that evening reflecting on my past two day's training.

[Captain M]

LEARNED!

From the way I gathered it, the 3TP meant that's what was left to learn right? So yeah, +3 TP!

[The Creator]

Flame Daggers
Rank: "D" Rank
Skill: Ninjutsu
Effect: The user creates to small daggers made of fire that can be used for close combat. The daggers appear as if you are holding a dagger with the blade facing to your back.
Special: Ox, Dragon, Tiger
Drawback: ---
Description: The flame daggers are a variation of Katon: Daitou (Fire Release: Longsword). They are good for a close quarters fight with an enemy.
Limit: Must know Katon: Daitou jutsu before learning this jutsu.

10 TP

I had returned from my mission to Kusa no Kuni after a week of traveling and arrived at the theatre on the evening of that Saturday. I had a rather large dinner at a local grille to celebrate the success and good health in which I returned from the mission and that following Sunday picked back up on my training.

The technique that I was thinking over was an addition and extension of the previous fire technique I had learned. It particularly was the creation of two daggers which behaved much like the original fire longsword I had learned that previous week (I had also learned of floating, flaming swords techniques that were also very similar). I spent that early Sunday morning after breakfast mulling over the technique and how I was to perform it.

Now well accustomed to making fiery blades with the chakra-bubble technique I found that I would simply replicate the process I had used on the previous technique. Now, the technique called for two daggers. However, after making one dagger from scratch I could simply make another without having to go through that whole process. Such was the peculiar way of chakra shapes.

After breakfast I went out into the garden and began to make preparations for the technique. I made a small chakra bubble in the shape of a rectangular prism and got to work on shaping the blade. I found myself working quickly and surely, not overcome with the same anxiety that had tugged at my mind in the previous session. I soon had crafted a decent enough dagger and had replicated it so that I now possessed two.

The fundamentals of movement were not too different either. The only large difference was the control of two shapes at once. Moving in 1 dimension was the most tedious to learn but after several minutes of practice I found that the rest of the training was moving downhill. It was like a tedious crossword that took only time and thought and was not so difficult at one point that it had to be halted. Soon I had a master control over the two daggers from which flames had erupted.

I spent lunch reflecting upon all that I had learned that morning.

[KoKoKo]

+8

[The Creator]

2 TP

Lunch was a smoked salmon and an apple, one of those green ones that were actually pretty sour.

I ate in silence, contemplating the technique I had learned. The knives were backwards and that is what had made it a difficult technique, I had learned, because the movements were so alien to the typical blade. It required much more arm movement than the longsword simply because the blade was harder to manipulate: it was short and it was on the wrong side of the arm. But that was the way the technique worked, I supposed.

The rotation was perhaps the most important part because of how keenly daggers needed to be manipulated in order to work properly. Holding two at once definitely made the manipulations more difficult but I reflected on what I had learned: sequential moves allowed for stronger focus and more dangerous move-sets.

[KoKoKo]

+2

[The Creator]

Fire Style: Inferno Technique
Rank: D
Skill: Ninjutsu
Effect: Shoots small gout of flame towards the opponent.
Special: Ox, Monkey, Rabbit, Tiger
Drawback: Requires the user to exhale and keep their dominant hand cupped over their mouths. Once the user is out of breath of moves their hand, the technique falls.
Description: The user performs the handseals, energizing their hand and their esophagus with chakra. The user then cups their hand over their lips and exhales. The oxygen being expelled from the lungs combusts upon reaching the chakra from the hand, and the user blows it out a maximum of ten feet away. This is different from the Goukakyou no Jutsu in the fact that this comes out as a stream and not a fireball, and also different from the fact that once the user stops breathing out or moves their hand, the technique ends.
Limit: Fire Release

10 TP

That evening I continued my studies of fire techniques. There was a technique that I had even reading about that was very close to the Fireball technique I knew. Both the theory and practice were extremely similar in that the technique originated from the breath (though all Katon techniques really fundamentally began with breath chakra few pulled their energies straight from the lungs), both combusted just past the lips using a lighter-like catalyst originating from the hands, but here the differences split; while the fireball technique was a growing technique that would trap the fire this "inferno-style" would use the natural tendency of the breath to project it outwards in a stream-style fashion.

This was designated as a Genin-level technique because of that difference, I concluded. It was much more natural than the Chuunin-level fireball technique which required much more control. The execution of the technique would mimic, I believed, the fireball technique up until the actual combustion. Rather, the combustion would be exactly the same but the fire would subsequently be manipulated no further.

The brilliance of the technique lie in its simplicity. I will admit that the range was that of an uncomfortable closeness with a man that was more apt to murder you than greet you but I found that this technique was made for exactly such encounters. The Handseals were abrupt and the formation quick: this was a simple and dangerous close range attack that was easy to form and dangerous in its dimension.

I only had to peruse the scroll from which the technique came from to learn the Handseals. I would never have to refer to it again to discern them. With the Handseals forever imprinted in the cells I called "memory" I moved back into the garden to practice the execution. As I often did I replayed or revisited the theory (which could also delve into realms of philosophy if the technique was complex enough) of the technique right before I performed the execution of it. I noted the key points: breath chakra, igniting fingers, natural results. The technique was basic enough to have just those pillars.

I held a stance of preparation in the middle of the garden. The nearest fence was more than 5 meters away; I was in no danger of burning it down. I performed the Handseals deftly (I regarded myself as an expert of Handseals) and then breathed in deeply. I was beginning to think myself adept in Katon release techniques and almost naturally infused my breath with chakra.

I brought my right hand to my mouth, forming a circle with my forefinger and thumb, extending my other three fingers without any care to them, and created a small flame between the touching fingers. I exhaled; the breath that was infused with chakra ignited as it passed my lips and immediately became a stream of fire which torched all in front of me within 10 feet. Being such a low level technique, I expected to perform it adeptly the first time.

After that single performance, which hardly took any time at all, I retreated to the balcony of the theatre with warm tea and reflected on all that I had learned.

[KoKoKo]

+10

[The Creator]

Chakra Lore
Rank: "E"
Skill: Skill
Effect: A skill for basic Chakra Jutsu understanding allowing the user to identify and read all Chakra matters.
Special: ---
Drawback: ---
Description: A person versed in Chakra Lore knows the basic principles behind Chakra. They are tuned in to secrets about the world around them that most others do not and know how to read Chakra Scrolls or Writings. They may not be able to perform Jutsus, but they can read Chakra Writings and generally tell what it is all about. Some practical applications of Chakra Lore follow: Identifying Jutsus, Identifying Chakra Items, and Deciphering Scrolls. Look in Jutsu Lore Skills thread found in the Skills and Traits Index for more information. Each time learned user gets 5 die roll to increase the skill.
Limit: ---

5 TP
Able Learner

I spent the remainder of that evening taking a break from jutsu performance. I was rather engrossed by memories. Sometimes this happened suddenly and sometimes it happened upon command but in few cases I would allow myself to go deep into my memory and relive some specific dates.

"... would instill the chakra shape with...Shouta are you sleeping!" I jerked awake at the sound of my name.

"No." I answered.

"What did I just say?" Asked the academy teacher, some burn-out Chuunin who hid behind the academy walls, probably fearful of the life he had chosen. I took several seconds to go back into my memory.

"You said 'The nature of the chakra net, an important tool of the apprentice and master alike, is a chakra shaping technique that allows for both basic and advanced chakra manipulation. Nets are often used in 'Energy-Based' techniques that are physical manifestations of fire, lightning, or other non-physical energies. Filling these shapes with chakra embued with that element would instill the chakra shape with...Shouta, are you sleeping!'" The class giggled, some in awe, at my perfect recollection. The teacher was sure he had trapped me this time and was stunned.

"Furthermore," I began, not expanding on the subject bit quoting an advanced book verbatim I had once perused, "'Chakra net techniques are an extension of an ancient process which allows for the optimization of chakra manipulation and shape transformations. Several thousand techniques were created using this tool as it is one of the only extensions of the chakra engineer to give the opponent the full effect of the technique while not hampering the shape in any form.'" I ended the quote; that would shut him up. A few students clapped. I gave him a wane smile. He did not allow masks in the classroom but this time it served my own purpose.

"If you're so smart," he began, indicating he was about to dig deep into his own studies to trump me, "what are the three pillars of chakra shape manipulation in a three dimensional space?" He smiled. I smiled back. I knew this one. I pulled a verse from the same book from memory.

"Translation, reflection, and rotation. Although it has been argued that 'transmutation' is a fourth and undeservedly unrecognized pillar with which I agree." Trumped again. I didn't go back to that classroom that day; they had moved me to the advanced grade.

[Captain M]

[M is currently reviewing this.]

+5 TP, LEARNED!

38/125

[The Creator]

Chakra Lore
Rank: "E"
Skill: Skill
Effect: A skill for basic Chakra Jutsu understanding allowing the user to identify and read all Chakra matters.
Special: ---
Drawback: ---
Description: A person versed in Chakra Lore knows the basic principles behind Chakra. They are tuned in to secrets about the world around them that most others do not and know how to read Chakra Scrolls or Writings. They may not be able to perform Jutsus, but they can read Chakra Writings and generally tell what it is all about. Some practical applications of Chakra Lore follow: Identifying Jutsus, Identifying Chakra Items, and Deciphering Scrolls. Look in Jutsu Lore Skills thread found in the Skills and Traits Index for more information. Each time learned user gets 5 die roll to increase the skill.
Limit: ---

5 TP
Able Learner
38/125 SP

The silence of the library was beautiful because the city was so loud. Even if there were no people to speak in the streets there were always the sounds of horses or carts in the city; of ringing bells and whispering trash. But here? Silence. I flipped through a book on Handseals.

"The Handseal" it began, "is the paintbrush if the world is a canvas. The performer is an artist and the technique is his vision. These tools are windows of the metaphysical and powerful.

"The Handseal was first developed by men in an attempt to mould their inner chakra passed down by beings greater than the mortal ninja. The first of these humble attempts were that of the pen and ink nature and required kanji and a skill for calligraphy. The most ancient of shinobi wrote their Justus with glowing pens and the ink was embued with their chakra. Great focus and meditation was required and it left the artist rendered exhausted once he finished.

"The Handseal was developed by a chakra genius who was rumored to have had close ties to the Sage of Six Paths and the predecessors of the Uchiha. Unlocking the potential within one required a seal, he theorized, with Tian, 天, which could be made with the hands.

"Handseals, so the creator believed, were not created but rather discovered. The seals bind him in his contracts to the earth and that which lies beyond it though it is noted that shinobi unknowingly seal themselves in contracts which we do not fully understand. We find ourselves eager to use the gifts of chakra but what really do we bind ourselves with? Beyond death, I fear, the military use of chakra will make fools of us all."

The philosophy ended there and it stuck with me. This was theory and I ended up denying it as it hardly had any evidence but it was certainly a thoughtful idea.