Full name Edit
Narako Uta Edit
Name Origin Edit
Narako Uta is a name originating in ancient Japan. The "Nara" portion of the first name means "only hope", while the ending suffix "ko" translates into "child" and is usually placed at the end of female names. The name "Uta" carries the meaning "song or poem". Before Narako Uta was born, her parents were going through rather tough times in their marriage. Neither of Narako's grandparents had agreed that the couple should be married in the first place which showed when they refused to attend the wedding or pass their blessings onto their children. When it seemed as though the couple would split apart because of their constant disagreements and overall unhappiness with one another, Narako was the name given to their unborn child as a symbol of their "only hope" for saving their marriage.
Nicknames: Nara or Koko
The Silent One
The Child of Curiosity
Narako stands at a height of 5"5 which seems fitting of her petite frame. She has inherited her mother's icy blue eyes which one can describe as piercing and mysterious when looking into them; eyes that are void of emotion, searching others yet difficult for others to read themselves. A most noticeable feature of hers is her snow white hair which she keeps cut short above her shoulders, inherited from her father who's hair was as white as a pale moon. The ivory hue of her skin seems fitting of her aforementioned eye and hair color, often described as a porcelain glow like that of a phantom. She is not as buxom or plump as other women surrounding her, but the soft curves of her body are typically evident beneath her choice of clothing. When entering a room, Narako's doll-like features make her appear timid while her posture and overall demeanor give off an innocent, yet mysterious vibe. She is not often seen with a smile, but with an expression that is constantly wondering, observing and searching.
Symbol: Bird of SongEdit
The bird of Song
Zodiac: Sagittarius Edit
Personal Characteristics Edit
Birth Date: December 17th
Birth Place: New Kanazawa
Reputation: (Coming soon)
Fighting Style Edit
The exact activities and conventions undertaken when practicing kenjutsu vary from school to school, where the word school here refers to the practice, methods, ethics, and metaphysics of a given tradition, yet commonly include practice of battlefield techniques without an opponent and techniques whereby two practitioners perform kata (featuring full contact strikes to the body in some styles and no body contact strikes permitted in others). Historically, schools incorporated sparring under a variety of conditions, from using solid wooden bokutō to use of bamboo sword and armor. In modern times sparring in Japanese martial art is more strongly associated with kendo.
To be effective, a kenjutsu strike/or counter-strike is a composition of several techniques: feigning, cutting, jabbing, thrusting, parrying or binding, footwork, choice of weapon, and even knowing the opponents weapon. It was mentioned that once Musashi realized the physics of the chain-and-sickle (kusarigama) , he was then able to defeat it.
The feigning techniques are effective movements of the weapon, footwork, center of gravity, and even the use of kiai. Applied effectively, the opponent is set-back one move, while creating an opening elsewhere. The feigning technique should be angled to allow a quick direct shot from this position. Only sufficient practice will perfect these techniques and teaching to convey the training of proper reflexes. There is not much time to think during a skirmish or battle. A fluent continuation of techniques must be deployed to manage even multiple opponents. One second per opponent is too long. Managing an army should be treated the same way. A practical understanding of the body, weapon and timing is necessary to be able to dispatch a strike or counter strike whether standing, walking, or rolling around the ground (or whether an army is attacking or retreating). There is no time-out or ready position. It might be a fight under minimum visibility or total darkness. When striking range is reached, reflexes dictate the outcome.
Cutting, jabbing, and thrusting techniques must be all preceded by a feint (except when using the quick strike techniques). The defender can easily parry a strong attack, due to the telegraphing momentum behind the attacker's weapon. Therefore, a strong cutting technique can easily receive a deadly cut across the sword hand or forearm. The feigning movement should complement both double-sword, two-handed sword, or any weapon.
There are some strikes that do not require a preceding subterfuge. These are referred to as "quick strikes". They are done with two hands on the sword or with a sword in each hand. One hand is at the base of the tsuka (to provide longer reach) and the other hand is at the ridge of the blade to provide the initial force to flick the sword as quick as an arrow to hit the target. This could be done with the double sword, with one sword providing the push for the dispatch. These postures are hidden and the ready positions are implemented while switching hands or while changing steps. These flicking strikes can be administered from any angle (top, sides or below).
When parrying, always try to direct the point of the sword to the target. This minimizes the step needed to be able to counter-attack. Thus the opponent is at an immediate disadvantage. Also, using the quick strike at the opponent's sword hand or forearm will immediately incapacitate his attack before having to parry it. A simple rule — to keep the point of the sword pointed to the opponent or at within the area of the gate, while attempting to parry in all angles — will provide a good foundation for appropriate counter-maneuver reflexes.
Musashi said that the footwork shall be adapted to terrain and purpose. The correct stride is to be applied to whatever leverage is needed to effectively wield the weapon at hand. The choice of weapon and knowing the opponents' weapons is essential for the choice of right technique and strategy. Knowing the center of gravity of a weapon can help the assessment of its maneuverability and speed, as much as its effects on leverage and kinetic forces.
The use of the double-sword (one in each hand) can provide the ultimate control of the gate. The "gate", as referred to by Miyamoto Musashi, is the opening between two fighters. All attacks must go through this gate to reach the target from any angle. To close or disrupt the gate at the right moment is necessary to deflect incoming attacks. The double swords' ability to alternate and complement their trajectories provides a strong continuous flowing barricade as well as trapping and striking repetitions. Timing is essential in the use of this technique, and Musashi advised that the double-sword technique should be learned early on.
In the later stages of kenjutsu, one can win without the use of a blade by merely understanding the physics of sword work. A kenjutsuka can resolve or win without having to fight (or without having to cut) — and gain followers instead. There is no individual or religion that started this. Any level-headed person would not want to maim or kill another human being. A kenjutsuka (a true swordsman) strives to attain well beyond cutting techniques: to serve his master or act on his own as a diplomat of fairness in the living hell.
Latigo y DagaEdit
Latigo y Daga is translated from Spanish as "Whip and Dagger". Although the term is Spanish, it is actually a Filipino martial art with techniques for flexible weapons, mainly whips. This system was developed by Tom Meadows in 1987 based on his experience and experience with whips and its purpose in multiple martial arts and combat systems and styles. The creation of this style also lead to his development of a standardized vocabulary for whip techniques. The weapons for this style are, of course, mainly a whip and a dagger although some techniques may be executed using just a whip and an empty hand. This is the martial art Narako utilizes when switching her weapon from its katana form to its flexible, whip-like form.
Special attack: (Coming soon)
Signature attack: (Coming soon)
Weapon of Choice Edit
- The Kesshoyaibi is an extension of Narako's ability to manipulate Ethereal Energies into any weapon of her choice, her main choice being a katana whose blade extends far longer than that of an ordinary katana. What differentiates this katana from others is the fact that the blade is made from the Ethereal Crystals that Narako can generate which makes its sharpness, vibration frequencies and destructibility factor all controllable by her level of concentration. Depending on the hardness of the blade, it can cut through basic metals such as metals used to create cars as well as various types of stone minerals such as concrete or what have you. After years of rigorous training with the blade, Narako discovered that it has the ability to emit her energy into the form of an attack that sends Ethereal Energy shards at her given target. Up to hundreds of them at once and with enough power to cut through and/or destroy anything in the path of the attack.
- One key factor of the blade is that it can actually transform into a secondary weapon at the wielder's command. A combination of hand motions and channeling her energy into mental focus can cause the blade to separate into links that are highly flexible and whip-like.
Extrauniversal Information Edit
Analogue: (What already existing character is your character most like? Naruto Uzumaki? Homer Simpson? Eddy?)
Desired Voice Actor: (What actor or voice actor in the real world would you like to play your character? Nicholas Cage? Will Smith? Ben Affleck?)
Inspiration: (What already existing character, real world person, or other thing that isn't from your own universe inspired your character? Buzz Lightyear? Johnny Appleseed? Armenia?)
(Info coming soon)
Ether Ability Edit
Ethereal Crystal Manipulation
SmackTalk ! Edit
Prefight : "They say the eyes are the windows to the soul. Yours are telling me that you wish to suffer."
Post fight: "You look so much prettier when you're dead."