Saika, Miyanaga [APPROVED 2-5+]

Basics

Name: Saika, Miyanaga (雑賀 宮永)
Nicknames: Miya (宮)
True Age: 150
Gender: Female
Personality: Miyanaga knows she isn't the best. She knows she isn't the strongest. However, that's nothing to stop her from getting there. Nor is it going to stop her from believing she can be the strongest. In fact, she has not met anyone whom she considers the best or the strongest. In fact, the closest person she has seen as that is her own mother. However, she knows that her mother will eventually die like all things. Because of that, she wants to be someone that can protect those whom her mother protects/ed. And she thinks becoming "the best" will be her answer.

And because she wants to be the best, Miyanaga does not like other people claiming to be the best. She scoffs at people who claim that and, even if she knows she can't beat them, she'll still challenge them. Only by proving to herself that she isn't the best does her desire to become the best grow exponentially. And even she is beaten to a bloody pulp in that fight, she'll fight until she's passed out or dead. If you cut off her arms, she'll kick you. Cut off her legs, she'll bite or headbutt you. Cut off her head, and well... she's still human, so she's dead. But she'll come back in the next life and punch your face inwards.

Miyanaga understands death. I mean, she had a sister and a brother die (even though she didn't really get to know either of them). She knows things die. She know books must end. She has known that for most of her life. And that, in turn, gives her a rather down outlook on life. She sees the end rather than the middle or the beginning. She doesn't necessarily want the end, but that's all she's been able to see. And by see, she can't really enjoy life as it's meant to be. She lives the "live each die like it's your last" to the literal degree, but she thinks about the next day in that phrase. And she does understand that it would take more than natural causes to kill her mother, but that doesn't mean she is saying "Nah, I can relax; she's immortal." Because eventually, Yoshine won't be there for her. Eventually, she'll be on her own.

Miyanaga is a bit overprotective of her family, even if it doesn't seem it. Even though she may be older and a lot more intelligent than she lets on, Sumika is whom Miyanaga feels needs protection the most. Sumika isn't incapable of defending herself by no means, but Miyanaga feels she needs to, even if her mother does so as well. If anything, Miyanaga does it not just as a loving sister to another, but to also prove that she is capable of doing what her mother does. And while she may talk back to her mother, she does hold her in high regard. In fact, Yoshine is the one person who can actually order Miyanaga around. It takes Yoshine getting quite serious to do so, but Miyanaga has yet to disobey one of those orders from her mother. She has thought about it, but she knows that she can't quite handle the backlash it would cause.

General Appearance

Appearance: Miyanaga has shoulder length dark magenta hair, often with one tuft sticking out from the side of her head, and red eyes. She is seen in an unknown school's uniform which consists of a white sailor fuku dress with light blue outlines, a navy blue ribbon, puffed sleeves, and a brown belt.She used to wear a sleeveless black shirt with a long white skirt.

Appearance Age: 16-18
Height: 170cm
Weight: 47.6 kg

Natural Abilities

Natural Abilities:
Kū-qǔjīng (哭取經; lit. Crying Sutras): Kū-qǔjīng is Miyanaga's first style of fighting. This is a style based on her abilities with Qi. There is fluidity in its movements, yet is not moving towards the opponent. No, Kū-qǔjīng is meant to cause indirect damage. If they push an opponent towards a cliff, Kū-qǔjīng would be used to destabilize the cliff so the opponent would fall to the bottom. If pushed inside a building, Kū-qǔjīng would be utilized to destabilize the roof above the opponent. It has a few stances: Jīngdiǎn de Yǎnlèi (經典的眼淚 lit. Sutra of Tears), Jīngāidào Rì (經哀悼日 lit. Sutra of Mourning), Jīng de Yíhàn (經的遺憾 lit. Sutra of Regret), Jīng de Tòngkǔ (經的痛苦 lit. Sutra of Anguish), Jīng de Bēitàn (經的悲嘆 lit. Sutra of Lamentation), and Jīng Nèijiù (經內疚 lit. Sutra of Guilt). Jīngdiǎn de Yǎnlèi is the first and most basic. It is a rather offensive stance. Miyanaga's left side will face the opponent. Her left leg will be slightly bent, allowing only her toes to touch the ground. Her left arm will be raised at a horizontal angle between 25 and 45 degrees. Her right leg will be slightly bent, allowing for a quick jump to any direction. Her right arm will be rotated to where her wrist is aimed upwards. This allows for many body strikes without actually hitting the opponent with her body, and instead grazing them with the rotating action of her skin. Jīngāidào Rì is the sole defense-only stance in the style. It flows from Jīngdiǎn de Yǎnlèi by moving her weight to her front (left) leg, creating a defensive wall. Her left hand's angle now goes from 35 degrees to 60 degrees. Her right hand is brought forward to provide secondary defense. This allows a more frontal blocking method. It is easy to flow to the other stances from this one. Jīng de Yíhàn is the third stance. This one is meant to destroy wooden structures, such as pillars. Jīng de Yíhàn involves turning her body to be nearly facing the exact front of the opponent. She can be angled either way. Her front hand and rear hand are positioned flat in a "T" shape with the front hand being the top bracket. There is a three-inch gap between the front and rear hand. Her front leg bears her weight, but her rear leg is positioned to create momentum to drive the opponent forward. The strikes from Jīng de Yíhàn are meant to, as mentioned above, destroy wooden structures. Her hands will rotate to match the grain (direction) of the wood to allow for easier breakage. Jīng de Tòngkǔ is the next stance and is designed to break stone and concrete walls. In this stance, her body is turned with her right side facing the opponent. Her body is slightly twisted to where her chest is pointing at them. Her right hand will be in a tight fist with her forearm being at shoulder-level nearly completely horizontal. Her left arm will be in a loose form with it being at chin-level. The strikes in this style start with an elbow strike which are then followed up by a back-hand punch. Instead of a normal style of breaking through, this first cracks the vertical axis of the wall, then the second strike cracks the horizontal axis. This will, in turn, create destabilization. Jīng de Bēitàn is used to break floors, no matter the material. However, it is a very mobile stance. Her stance overall mimicks that of Jīngāidào Rì, except her arms are slightly lower. Jīng de Bēitàn, however, flows from side to side as she jumps around. As she jumps, she puts her weight on her front leg and kicks the floor upon impact. It only mildly destabilizes the floor, but it does so much like how glass and ice visibly crack. As the cracks grow, it stops at another crack. Eventually, there will be a pattern where the floor will only barely be connected to anything. As she lands upon her kick, her weight shifts to her rear leg, balancing her out. Jīng Nèijiù is her final stance. It, in comparison to all other stances in this style, is pure offense. No, offense is not correct. This stance is meant to bring down the house, literally. It is a destruction stance. Miyanaga will be facing directly forward towards her opponent. Her front leg will be slightly bent, with her rear leg bearing her weight. Her arms will be brought up to her chest. This stance is meant for Miyanaga to hop from wall to wall, bouncing off each one to bring down a building. Her hands are curved in a claw pattern to give her traction and to tear pieces of the walls or even ceiling down.

Fēixíng-qǔjīng (飛行取經; lit. Flying Sutras): Whereas Kū-qǔjīng is indirect damage, Fēixíng-qǔjīng is her main style meant for direct damage. No one, not even her mother, knows about this style. To be more correct on how this style is used, it's "leveling the playing field." The style has three stances—Gōngzi Jīng (恭子經; lit. Sutra of Reverence), Jīng Zhǎn Jǐng (經斬頸; lit. Sutra of Decapitation), and Shǎnshuò Jīng Cán (閃爍經殘 lit. Sutra of Extermination). Gōngzi Jīng is the initial stance. It is the leveling of weaponry. It is particularly useful against bows, handguns, and iaido. Her right side is facing the opponent. In this stance, her right hand is slightly lower than her breasts. He left arm is reared back and ready to attack. Her right leg is bent in order to respond to a failure in the movements, but it also holds her weight. In response to a bow, her right hand will grab the bow in a single gesture and use her centrifugal force around her arm to continue to twist the bow until the bottom snaps or is bent to where it can not be used. In response to a handgun, her right hand does the same quick motion, but it is only usable before the weapon is fully drawn. Instead of tackling the weapon, she grabs the hand of the opponent. She then twists the hand towards them, and either causes the gun to fire into themselves or for it to drop on the ground. If it is some "gangsta punk," with it right above their crotch, she may pull the trigger on the gun instead of grabbing the hand, giving them a "blow job" they'll never forget [t/l: she makes the gun shoot their dick off]. Iaido is where this stance excels. She developed this stance because of her mother. While her mother may be fast, even the slightest movement on the hilt of the sword causes Miyanaga to do one of two things. The first, and least likely-to-be-used option, is for her to jump back and avoid the strike. The second is to stop the strike in the first place. Essentially, as soon as Miyanaga feels the sword has been drawn, her hand moves at a speed comparable to that sword. However, she doesn't grab anything. Instead, the whole motion is meant to stop the slash midway. This is the Iai user's worst nightmare. They are in a state of purgatory where the sword is not fully usable. If done in a certain manner with great force behind it, it can bend a normal sword within the scabbard. Jīng Zhǎn Jǐng is the second stance. It flows from the disarming stance almost immediately. It prevents an unwanted second strike. Her left side is dominant this time, but her weight is still on her bent right leg. Her right arm is reared back around shoulder height and her left arm is bent slightly, but it aims forward with an open palm. This is not to grab a fist, but to grab the wrist of the punch. After grabbing the wrist, she twists her body and either punches the opponent hard in the face or in the stomach. She could also strike the sternum or ribcage with that attack. The same applies to a kick, albeit she grabs the shin then. The final stance is one she tries not to use. Its use, when successful is a nigh-guaranteed killed. Shǎnshuò Jīng Cán is once again with her left side aiming towards the opponent. Her left leg is bent this time. Her right arm is, however not aimed at her opponent. Her left arm is in a defensive 30-40 degree angle, but her right arm is at her side, aiming towards the ground. In a single motion, she uses her left leg to shoot her towards the opponent. As soon as she's in arm's reach, she uses her left arm to pivot on the opponent's shoulder. She rotates and drops slightly, but her right arm is, by this time, around the opponent's neck. The trick to this is that her right arm has her Chūkū Rasen ability active. With any more kinetic energy pulling her, Miyanaga could effectively grind through her opponent's neck. She could also pull the opponent to fall, and then punch them after they hit the ground. The effect is the same essentially.

Swordsmanship: Miyanaga is, by no means, a master with a sword. She is far above a novice, however. Her mother did teach her some, but Miyanaga dropped the lessons before things got too serious. She didn't like the feel of a sword in her hand, or any weapon for that matter. She mainly uses her knowledge of her mother's style not for any actual use with a sword, but to predict her opponent's movements.

Qi Abilities

Type: Gōngnéng
Appearance change: None, though her sleeves may get torn on a rare occasion.
Abilities:
Copernicus and Ptolemy—Ten Circles of Science: This is a rather strange ability of Miyanaga's. She uses the two concepts of Heliocentrism and Geocentrism to create a 10-circle layout on the ground beneath her and her opponent. The 10-meter-diameter layout mimics the planets (minus Pluto) and Earth's moon based on the two theories. Depending on which one she uses is where the circles lie. She does not have to put the layout directly under her opponent. No, it actually can be laid as a trap and set to be used later. It lasts, if unused, for six posts and she can only activate one at a time, but she can make three deactivated ones if need be. Each one takes one post to be "readied," which means that if the opponent steps on a circle before the readying is complete, it won't activate.

• Heliocentrism: When activated, Miyanaga is able to swiftly move around her opponent in a circular path, similarly to how a planet revolves around the sun. She moves faster than a normal Shunpo, and it is more like she never was at the original space to begin with. To simulate, Miyanaga's target would be like the sun in a solar system, and Miyanaga would be one of the planets orbiting the sun.
  
• Geocentrism: When activated, Miyanaga can control the movements of any opponent that steps into one of his circles and either trap them, or shift their movements. This doesn't mean she can stop someone from moving. Instead, it is moreso used to redirect a target to miss Miyanaga. To simulate, Miyanaga would be the earth, and the target would be the/a moon orbiting around due to the earth's gravitational pull.

Enshinhifu (遠心皮膚; Jap. Centrifuge Skin): Miyanaga has a sort of "second skin" surrounding her body. This could be considered something akin to a Hierro, albeit far more complex. Unlike a hierro which is moreso a suit of armor meant to withstand attacks, Miyanaga's Enshinhifu is meant to deflect the attacks. Not in the sense of traditional armor, but in the sense that it is constantly moving and thus the attack will move. Yes, Enshinhifu is constantly moving in a clockwise rotation on every part of her body except her right arm and right leg, which move in a counterclockwise rotation. It moves at such high speeds that it is like her body is a grinder. If a sword or other metal object collides with it at enough force to break through it, it initially does not. Instead, it actually produces sparks. However, it does take a good bit of force to break through Enshinifu's casing. A half-assed attack won't do any good unless there's ridiculous strength already present. Bullets are, perhaps, the weakest weapon to use against her. Even high-caliber shells such as a 30-06 have trouble breaking through, and that can really only be done at point-blank range with such a caliber. She can keep it up nearly indefinitely. However, once it is broken, it takes six posts to rebuild that section. If it is completely deactivated, she can not re-activated during that thread.

Chūkū Rasen (中空螺旋; lit. Hollow Spiral): Chūkū Rasen is Miyanaga's main ability. While Geocentrism and Heliocentrism are powerful, they're still nothing compared to Chūkū Rasen. There are two reasons the Enshinhifu on her right arm spins counterclockwise. The first is that it pulls the weapon (and user) towards Miyanaga. The second is the counter to Chūkū Rasen. To explain, Miyanaga's "Qi Clumps" are not a energy or a solid like most are. No, it is a liquid. To put it the short way, Miyanaga makes her Qi Clumps around her right arm undergo inertial cavitation. Cavitation is the formation and then immediate implosion of cavities in a liquid – i.e. small liquid-free zones ("bubbles") – that are the consequence of forces acting upon the liquid. It usually occurs when a liquid is subjected to rapid changes of pressure that cause the formation of cavities where the pressure is relatively low. Inertial cavitation is the process where a void or bubble in a liquid rapidly collapses, producing a shock wave. When the cavitation bubbles collapse, they force energetic liquid into very small volumes, thereby creating spots of high temperature and emitting shock waves, the latter of which are a source of noise. A drill penetrates through its target through brute force. Chūkū Rasen eats away at its target. However, this isn't just used to rip a target's skin away. No, it can also be used to deflect attacks her Enshinhifu can not withstand. Essentially, it works as a defense against projectiles or against energy attacks in that method. But its attack purposes are far from just eating away. Because it is spinning in air, it creates a visual aerial disturbance not much unlike a tornado. It is a natural reaction occurring because of the cavitation, and it can in turn create a very smooth cut. With the speed of the cavitation itself, it creates a rough cut much like a serrated edge. With the wind rotating, the cleanness of the cut is enhanced tremendously to the point to where it is nearly exactly smooth. This makes her arm with Chūkū Rasen active essentially as sharp as a sword. Because of this, she can counter sword strikes and other weapons. She can keep it active for eight posts with a two post recharge.

Past & Roleplay Sample

Character Background: To be born the child of an arrancar, you're going to get a few things. For Miyanaga, well, she's been alive since February 2, 1949 and hasn't aged a day past 18. Her mother... honestly, Miyanaga doesn't know if her mother had or has a profession, and doesn't even know her father's name. Before Miyanaga could walk or talk, her mother and father had a bit of a violent falling out. Her mother took Miyanaga to Osaka, where they moved around frequently. This was a time of a bit of panic. It was still not long after the second World War and Japan was still recovering. Miyanaga was born before the Ministry of International Trade and Industry was founded, but only by a few months. Because of this, Yoshine used to call Miyanaga her "economic miracle."

This was because right after Miyanaga's birth, the Japanese economy became one of the best in the world. Miyanaga's kanji means "young palace." She was, initially a happy kid. She actually had quite a few friends. She was a rising star in the school's judo team. Their house was in a very beautiful place. Every morning, Miyanaga would get a view of the beautiful Osaka Castle. Their house for most of Miyanaga's life was right in front of the castle's moat. She loved going there. If her school took a trip there, she could sneak off and say hi to her mother or her sister. The castle itself was impressive, but as the girl grew older, she learned of the original owner of the castle—Toyotomi Hideyoshi. She admired his strength and legacy. She admired that he would be seen as the strongest and most revered shogun as he united Japan under him. That was the start of her dream, as she came home from school one day and claimed that she'd be the next Hideyoshi. So because of that dream, Yoshine began teaching Miyanaga how to weild a sword.

When Miyanaga was old enough to work, she took on a job not with her mother (much to Yoshine's chagrin), but with answer phone calls for the new "Shinkansen" high-speed rail system. She eventually worked at the ticket booth for the Shin-Ōsaka Station. She was quite pleasant, even when compared to the normal Japanese population. She picked up some English from the foreigners that passed through. She earned a steady paycheck. She stayed there until she was twenty-five. Why? Because she hadn't aged any. Her mother then told her about the family. About Snopy. About Sumika. About herself. Yes, Miyanaga learned everything. When you learn your mother's dead, but alive and the same with your sister, oh and your brother's dead but might be alive... that's a bit of a shock. Miyanaga left home with a rather hefty sum of money stored away from her tips as a ticket booth attendee.

Miyanaga left and moved to Nakamura-ku, one of the wards of Nagoya. She used her money to rent a rather affordable apartment. She attended a business school and eventually got a job at Japanese National Railways, which later became as Central Japan Railway Company. She was simply a desk worker, but she did well at her job. She was starting to realize how down the world was as day-by-day some of the older people in the office died of natural causes. On the last day she worked there, her boss was ironically hit by a train and was killed instantly. By the time she had quit her job there, she had enough money to buy food and a small cottage deep in the woodlands. She trained there in isolation. She had come to the realization that her mother, like those old people, would die one day even if it weren't from old age. She'd make sure that someone unprepared was left with the burden of what her mother did. This determination caused her powers to awaken.

While she didn't notice it eventually, she noticed that things around the house were beginning to look like they had been grinded. In fact, that's exactly what happened. She had developed an ability to use Qi. The Qi around her became more and more apparent, which only made her stronger in the end. She trained with and without her powers for fifty years before finally returning home. Her mother had moved, but it wasn't out of the city. She still had some of her money left thanks to being able to fend for herself out there. Miyanaga's personality was different from what it was when she left. She was slightly gloomy and appeared to be at least annoyed all the time. But she truthfully wasn't. She still enjoyed the company around her, but her outlook on life is what drove her to that state. Eventually, the Saika household moved out of Osaka and into Karakura. She trains when her mother is not around or when she takes trips back to Osaka to see the castle that inspired her.

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Comments/Notes: And thus, the least happy acting of the Saika was born. May Sumika not annoy her...what am I saying? Of course she will.
Tier: 2-5+