Post by Vio on Oct 17, 2022 16:52:28 GMT
<Chōsokabe Naotora>
Basic Information
Other Names: n/a
Epithet: (This is for badass titles your character gains)
Race: Shinigami
Organisation/Squad: 5th Division
Rank: Captain
Personality and Appearance
Personality:
- Characteristics:
The Musician - Chōsokabe Naotora is a strange enough character that takes as much pride in his duties as a Captain as he does in his hobbies as a musician. Seldom seen without some kind of musical instrument, he presents himself in a manner that is almost always musical. Even the manner in which he speaks is light and airy for the most part, pleasant to the ears, though this can change under certain circumstances.
Elegant Enigma - Captain Chōsokabe holds himself in a formal, elegant manner. Every step is graceful, every movement calm and refined. Little about him is messy, to the point where he’s said to be more graceful and beautiful than some of the Seireitei’s more attractive women. Of course, he always denies this fact, and often speaks of beauty as an internal thing rather than an aesthetic one.
Speaker of Narratives - Oddly enough, Naotora never addresses himself in the first person. He doesn’t say ‘I’, or ‘myself’ at any point, instead referring to himself as ‘Chōsokabe-san’ or in other manners that would suggest he’s speaking about another individual. It’s as if he’s narrating a story. - Goals:
Maintain the upkeep of the “Special Confinement Gaol” and entertain the Soul Society with his music. - Weaknesses:
Excessively humble and a little archaic in speech patterns. Strongly dislikes using his Bankai.
Appearance:
- Description:
Chōsokabe Naotora has jet black hair with a glossy sheen that is kept tied into a swept, busy ponytail at the back. His eyes are dark brown, but gentle, and his facial features seem quite delicate and kept clean shaven. Overall, he has a more subtle and slender frame, and stands around 5’11” (180 cm) in height.
As a Shinigami, Naotora wears the classical black Shihakushō and a white Captain’s coat, with his Zanpakutō at his hip. He does, however, wear his Captain’s coat rather formally even compared to other Captains. - Alternate Outfits:
N/A - Art:
N/A
Combat
Fighting Style: Tempestuous Tragedies
Description: Chōsokabe Naotora’s style is somewhat hard to place, but typically he prefers non-violent means of incapacitating his enemies, such as the use of Bakudo and some Hakuda. He isn’t too fond of using either his Shikai or Bankai unless he absolutely has to, mostly because it comes with a far less elegant and much harsher shift in his personality depending on the release state in use.
Zanpakutō Name: Matsukaze 松風 (“Wind In The Pines”)
Zanpakutō Description: In its sealed state, Matsukaze is a short katana often kept stowed in a deep green saya featuring a swirling pattern reminiscent of billowing winds. The sword’s grip is sky blue and the tsuba’s shape is circular.
Zanpakutō Shikai: Sasayake, Matsukaze (“Whisper, Wind In The Pines”)
An unusual Zanpakutō when released, Matsukaze completely transforms from a sword into an instrument reminiscent of a Shamisen, complete with a plectrum (bachi) which also functions as a bladed weapon when necessary.
Matsukaze is used in a fundamentally different style than most, with Naotora plucking at the strings to produce various melodies. A single pluck is all that is needed to demonstrate the most basic effects of this Shikai, for any entity that can hear Matsukaze’s sounds can become subject to it, even if Naotora doesn’t have line of sight. He needs only to know they are near. Sharp notes cause the air itself to slice like an invisible blade, while flat notes can instead cause powerful concussive bursts to stun and toss foes. A complete musical piece can become a wind-stirring tempest of bludgeoning and slicing assaults.
Naotora seems noticeably more sullen when using Matsukaze, and has even been known to shed tears by the time a particularly violent performance ends.
Naotora seems noticeably more sullen when using Matsukaze, and has even been known to shed tears by the time a particularly violent performance ends.
Zanpakutō Bankai: Hitan Gokei 悲嘆五景 (“The Five Scenes of Lamentation”)
Chōsokabe Naotora initiates the release of his Bankai with a rather unusual action, raising Matsukaze overhead before smashing it downwards. At the base of the swing, the Zanpakutō shatters and erupts in a tempestuous upsurge of Reiryoku, leaving behind a long, jet black nodachi. In addition, almost all colour is drained from Naotora and his immediate surroundings, and black streaks resembling tears marr his face around his eyes and down his cheeks. Strange droplets float in the air of both the sword’s and Naotora’s wake.
Naotora’s usual elegance becomes melancholic and mournful, but also oppressive and temperamental, executed in stages. Naotora himself likens the process of his Bankai to ‘Acts’ of a theatrical performance, but also to the rough and difficult road to processing the grief associated with encroaching death.
The first ‘Act’ is ‘Denial’, which is short-lived in its nature and is typically only used to refute a critical injury. Because ‘Denial’ initiates upon release, Naotora executes his Bankai on sustaining critical damage or effects that could prove fatal, resulting in the relevant effects being postponed and contained in a form of stasis.
The second ‘Act’ is ‘Anger’, the most indiscriminate of the acts and one that Captain Chōsokabe is most wary of when allies are near due to it being difficult to control. In this state, each of Naotora’s swings cause any floating droplets of black to suddenly and violently accelerate into darts of black which rush forth at incredible speeds, with more than enough force to pierce. Droplets remain embedded briefly before detonating in a multitude of small explosions. Of course, each swing and action displaces yet more droplets to be used in the next attack.
The third ‘Act’, ‘Bargaining’, is an effect executed through direct contact with an individual, which immediately ends the second act. By simply touching another entity, Naotora can trade their life for his own, imparting the critical damage or effect into them, though it remains in stasis. The afflicted individual can, by the same process, return the effects to Naotora, or even pass them to another individual.
Upon completing the third act on an initial target, Naotora transitions to the fourth ‘Act’, ‘Depression’, in which the colour-draining effects of his Bankai spread much further and distort temporal flow for those in its area of effect. The closer one gets to Naotora, the faster he seems to move, but the reality is the skewing of perceptions. The only individuals unaffected by this are those affected by the ‘Bargaining’ effect.
Eventually, the fifth and final ‘Act’ engages, ‘Acceptance’. This is an instantaneous effect decided by the Bankai itself, rather than at Naotora’s control, though he and the target of ‘Bargaining’ become acutely aware of the time limit, which is perceived as a strange otherworldly singing. Once the singing stops, Naotora’s Bankai collapses in on itself and returns to its sealed state, at which point all of the transferred effects trigger immediately on the current possessor.
The second ‘Act’ is ‘Anger’, the most indiscriminate of the acts and one that Captain Chōsokabe is most wary of when allies are near due to it being difficult to control. In this state, each of Naotora’s swings cause any floating droplets of black to suddenly and violently accelerate into darts of black which rush forth at incredible speeds, with more than enough force to pierce. Droplets remain embedded briefly before detonating in a multitude of small explosions. Of course, each swing and action displaces yet more droplets to be used in the next attack.
The third ‘Act’, ‘Bargaining’, is an effect executed through direct contact with an individual, which immediately ends the second act. By simply touching another entity, Naotora can trade their life for his own, imparting the critical damage or effect into them, though it remains in stasis. The afflicted individual can, by the same process, return the effects to Naotora, or even pass them to another individual.
Upon completing the third act on an initial target, Naotora transitions to the fourth ‘Act’, ‘Depression’, in which the colour-draining effects of his Bankai spread much further and distort temporal flow for those in its area of effect. The closer one gets to Naotora, the faster he seems to move, but the reality is the skewing of perceptions. The only individuals unaffected by this are those affected by the ‘Bargaining’ effect.
Eventually, the fifth and final ‘Act’ engages, ‘Acceptance’. This is an instantaneous effect decided by the Bankai itself, rather than at Naotora’s control, though he and the target of ‘Bargaining’ become acutely aware of the time limit, which is perceived as a strange otherworldly singing. Once the singing stops, Naotora’s Bankai collapses in on itself and returns to its sealed state, at which point all of the transferred effects trigger immediately on the current possessor.
Kidō:
Captain Chōsokabe is a skilled practitioner of Kidō, but is most heavily versed in the use of Bakudo to seal and contain threats.
Techniques:
(List any special combat moves your character may have, these are subject to staff discretion related to the ranks you have placed in your stats and attributes)
- Technique Name:
Technique Description:
Backstory