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 Gituku Mugo (ギツク むご)

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Gungen
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Age : 24

Character sheet
Name: Gituku Mugo (ギツク むご)
Age: 24
Occupation: Ex-Monk, Hunter, Route Troupe Member, PK & Psy-Nen user

PostSubject: Gituku Mugo (ギツク むご)   Thu Aug 06, 2015 7:41 pm

Basics
Full Name: Gituku Mugo (ギツク むご).
Meaning of Name: "Notoriously shady and sly Prophet." (Note: When written as "むご" Mugo means "Disaster").
*Nickname: Mugo (惨 "Disaster"), Gitu (ギツ "Formic Tool").
Sex: Male.
Date of Birth: July 6, 1991.
Blood Type: BO-.
Job Class: Ex- Monk/Sohei and a "Sometimes" partner to Kirian Satsujin in assassinations.

Organization Affiliation
Organization Name: Michisuji no Ichidan A.K.A "Route Troupe."
Rank: 3.

Organization Affiliation
Organization Name: Hunter's Association.
Breed: Blood Hound/Bounty Hunter.
Rank: S/5.
License and Tags:






Human Appearance
Age: 24.
Eye Color: Steel Blue.
Hair Color: Light Brown, but seems pink in certain lighting.
Type of Build/Body: He has a muscular, lean medium build.
Height: 6'0''.
Weight: 160 lbs.
Distinguishing Marks: Mugo is the bearer of many tattoos, some of which many haven't seen. In total, he is the wearer of three tattoos, the latter of which many have not seen.

The first of his tattoos, is a Japanese Worm Dragon located on his left bicep and wraps around his arm and stops just before the bend of his elbow. It symbolizes his deep desire to be seen as wise, but it also represents his unforgiving heart which causes so many to become, as they say, "Food for the worms." However, most of the tattoo is hidden by his kimono sleeve. Most only get a glance of the lower portion of it.

Bicep Tattoo:


His second tattoo is the least noticed out of them all. The dot on his forehead, though seemingly makeup, is actually a tattoo that is the symbol of being a monk.

Unactivated:


His final tattoo is located on the small of his back and is the monkey, Iwazaru, covering his mouth and is depicted in the image of the proverb "See no evil, Hear no evil, Speak no evil" with the number three in the center of its stomach symbolizing Mugo's rank among the Route Troupe, and also symbolizing his vow to never speak to anyone of authority about his association with the gang.



Attitude/Personality: A well versed actor, Mugo can fool even the pros. He's able to jump from one extreme to the other flawlessly and seamlessly without ever giving away a single hint that he's simply acting. However, under his seemingly carefree and happy façade lies a very cold man. He's been known in the past for killing individuals who he had originally started out working for. He's deviated from his original path due to his unruly attitude and lack of remorse for others. Not only has he deviated from his original path as a monk by means of poor attitude, but also because of his dark nature which allows him to kill easily and with zero guilt.

Not one to be known for subtlety, he chooses to seem to be somewhat eccentric in both his actions and clothing. Considered to be crazy by many, Mugo is a violent individual who will give no warning when he attacks. This violent personality coupled with his eccentric speaking style and clothing makes him stand out, making it obvious that he's not one to take going unnoticed well.

Mugo can be rather rude, showing often that he has a lack of manners in both social and personal settings. His social skills are lacking, often choosing to speak over others when they're talking or making rude comments to them, making it apparent that he both dislikes people, and doesn't do well with them in a normal social environment.

Not only is he rude, but very blunt. He's well known to be stubborn as a bull. If he doesn't want to tell you something, you'll never get it out of him. He'll play dumb or act coy no matter the cost. However, despite these factors, Mugo can also be very relaxed and easygoing when around close friends.

At his core, Mugo is a very bright and determined individual. While some of his personal morals don't line up with most of everyone else's, Mugo is a rather wise individual who, if he's befriended, can be helpful and kind in the moments that it's needed the most. However, on the flip side of that, if you anger him in one way or another, it's possible that he'll show no mercy and will kill you without a single shred of guilt. His friendship is a double-edged sword that can both help or hinder you should he only get bored of playing games with you.

Images For character:


Monk Information
School/Church/Temple affiliated with: Theravāda.
Teachings/Beliefs: Theravāda promotes the concept of vibhajjavāda "teaching of analysis". This doctrine says that insight must come from the aspirant's experience, application of knowledge, and critical reasoning. However, the scriptures of the Theravadin tradition also emphasize heeding the advice of the wise, considering such advice and evaluation of one's own experiences to be the two tests by which practices should be judged.

Theravāda orthodoxy takes the seven stages of purification as its basic outline of the path to be followed.

The Theravāda Path starts with learning, to be followed by practice, culminating in the realization of Nirvana.

Learning
 The Three Characteristics
     Throughout the Pali Canon, two characteristics of all saṅkhāra (conditioned phenomena) and one characteristic of all dhammas are
          mentioned. The Theravāda tradition has grouped them together. Insight into these three characteristics is the entry to the
                  Buddhist path:

    1. Anicca (impermanence): All conditioned phenomena are subject to change, including physical characteristics, qualities, assumptions, theories, knowledge, etc. Nothing is permanent, because, for something to be permanent, there has to be an unchanging cause behind it. Since all causes are recursively bound together, there can be no ultimate unchanging cause.


    2. Dukkha (suffering): Craving causes suffering, since what is craved is transitory, changing, and perishing. The craving for impermanent things causes disappointment and sorrow. There is a tendency to label practically everything in the world, as either "good", "comfortable" or "satisfying"; or "bad", "uncomfortable", and "unsatisfying". Labeling things in terms of like and dislike creates suffering. If one succeeds in giving up the tendency to label things, and freeing himself from the instincts that drive him towards attaining what he himself labels collectively as "liking", he attains the ultimate freedom. The problem, the cause, the solution and the implementation, all of these are within oneself, not outside.


    3. Anatta (not-self): all dhammas lack a fixed, unchanging 'essence'; there is no permanent, essential ātta (self). A living being is a composite of the five aggregates (khandhas), which are the physical forms (rupa), feelings or sensations (vedana), perception (sanna), mental formations (sankhara), and consciousness (vinnana), none of which can be identified as one's Self. From the moment of conception, all entities (including all living beings) are subject to a process of continuous change. A practitioner should, on the other hand, develop and refine his or her mind to a state so as to see through this phenomenon. Truly understanding this counter-intuitive concept of Buddhism requires direct and personal experience. This is given in vipassanā practice, closely watching the continuous changes in the Five Aggregates.


Dukkha - The Four Noble Truths
The Four Noble Truths are described as follows:

    1. Dukkha (suffering): This can be somewhat broadly classified into three categories. Inherent suffering, or the suffering one undergoes in all the worldly activities, what one suffers in day-to-day life: birth, aging, diseases, death, sadness and so on. In short, all that one feels, from separating from "loving" attachments, and/or associating with "hating" attachments, is encompassed into the term. The second class of suffering, called Suffering due to Change, implies that things suffer because of attaching themselves to a momentary state which is held to be "good"; when that state is changed, things are subjected to suffering. The third, termed Sankhara Dukkha, is the subtlest. Beings suffer simply by not realizing that they are mere aggregates with no definite, unchanging identity.


    2. Dukkha Samudaya (cause of suffering): Craving, which leads to Attachment and Bondage, is the cause of suffering. Formally, this is termed Tanha. It can be classified into three instinctive drives. Kama Tanha is the Craving for any pleasurable sense object (which involves sight, sound, touch, taste, smell and mental perceptives). Bhava Tanha is the Craving for attachment to an ongoing process, which appears in various forms, including the longing for existence. Vibhava Tanha is the Craving for detachment from a process, which includes non-existence and causes the longing for self-annihilation.


    3. Dukkha Nirodha (cessation of suffering): One cannot possibly adjust the whole world to one's taste in order to eliminate suffering and hope that it will remain so forever. This would violate the chief principle of Change. Instead, one adjusts one's own mind through detachment so that the Change, of whatever nature, has no effect on one's peace of mind. Briefly stated, the third Noble Truth implies that elimination of the cause (craving) eliminates the result (suffering). This is implied by the scriptural quote by The Buddha, 'Whatever may result from a cause, shall be eliminated by the elimination of the cause'.


    4. Dukkha Nirodha Gamini Patipada (pathway to freedom from suffering): This is the Noble Eightfold Pathway towards freedom or Nirvana. The path can roughly be rendered into English as right view, right intention, right speech, right actions, right livelihood, right effort, right mindfulness and right concentration.


Defilements
In Theravāda, the cause of human existence and suffering (dukkha) is identified as taṇhā (craving), which carries with it the kilesas (defilements). Those defilements that bind humans to the cycle of rebirth are classified into a set of ten fetters, while those defilements - sometimes referred to in English as "toxic mental states" - that impede samadhi (concentration) are presented in a fivefold set called the five hindrances. The level of defilement can be coarse, medium, and subtle. It is a phenomenon that frequently arises, remains temporarily and then vanishes. Theravadins believe defilements are not only harmful to oneself, but also harmful to others. They are the driving force behind all inhumanities a human being can commit.

There are three stages of defilements. During the stage of passivity the defilements lie dormant at the base of the mental continuum as latent tendencies (anusaya), but through the impact of sensory stimulus, they will manifest (pariyutthana) themselves at the surface of consciousness in the form of unwholesome thoughts, emotions, and volitions. If they gather additional strength, the defilements will reach the dangerous stage of transgression (vitikkama), which will then involve physical or vocal actions.

More explanation here: Theravada


Last edited by Gungen on Sun Sep 06, 2015 12:18 am; edited 33 times in total
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Character sheet
Name: Gituku Mugo (ギツク むご)
Age: 24
Occupation: Ex-Monk, Hunter, Route Troupe Member, PK & Psy-Nen user

PostSubject: Re: Gituku Mugo (ギツク むご)   Fri Aug 07, 2015 12:05 am

Abilities
Special Abilities:

  • Psy-Nen- Nen, Psy, Ki, Reiatsu, Chakra....no matter what you call it....is The ability to control his own 'life force' shaping and using it as a weapon to fight back against others. He is able to manifest his P.K in ways that are normally unheard of.  Nen is a unique form of P.K. manifestation among his people due to a unique form of training in P.K. upon testing a child and once discovered they begin learning how to fully open up their minds and bodies to the power.

  • Ketsueki taidō (血液胎動) (Blood Quickening) His strongest ability and the one that stands out the most is his ability to manipulate and use blood as a weapon. Although he has no formal training in it, he does however have natural talent in Psy-Nen having a strong powerful aura that has awoken. His ability with blood is rather frightening, he can from things such as swords and weapons to making it extremely pliable almost like an elastic band that he can connect to to points and and do someone in with.

  • Divine Family: Shiva and his Consorts (神聖の家族: シヴァと彼の配偶者)
    The Divine Family is a set of five Conjuring abilities that are all linked to Hindu gods and goddesses. In each ability, Mugo gains a different number of arms coinciding with the number of arms that particular God or Goddess has or conjures statue of the god or goddess themselves which aid in offense, defense, and/or healing. Each ability is powered by Conjuring Skills and added to in power by either Enhancing or Transmutation Skills accordingly.

  • Two armed God Shiva: Fearless Dance (二武装神シヴァ:  大胆不敵の踊り)- In Hinduism, Shiva is the god of Destruction. He is most known as the Destroyer of the World. Shiva is responsible for change in both the form of death and destruction and in the positive sense of destroying the ego, the false identification with the form. This also includes the shedding of old habits and attachments. Shiva is the father of all of the others, the original ability of this family or branch of other abilities that follow it.

    In this "Dance" or "Step" of the Divine Family, Mugo doesn't gain any extra arms. He does, however gain a third eye. Should he be angered, the third eye will open and cause his aura to spike and transmute to flames which will turn nearly anything they touch to ashes. In this form, Mugo breaks his normal fighting style, instead becoming even more unpredictable than he once was. He is also much stronger as he applies Enhancer skills to enhance his punching and kicking strength. If one of his hands should grab any part of his opponents body, it will be badly damaged or crushed almost instantly.

  • Four armed God Nataraja: Dance of Flames (四武装し神ナタラジャ: 炎の踊り)- In Hinduism, Nataraja is an incarnation of Shiva and is known as "the cosmic dancer." In many Nataraja depictions, Nataraja is shown as the source of all movement within the cosmos and as the god whose doomsday dance, represented by an arch of flames, accompanies the dissolution of the universe at the end of an eon.

    However, in the most common type of image, Nataraja is shown with four arms and flying locks dancing on the figure of a demon, who is sometimes identified as Apasmara (a symbol of human ignorance). Natarajas back right hand holds the damaru (hourglass-shaped drum); the front right hand is in the abhaya mudra (the “fear-not” gesture, made by holding the palm outward with fingers pointing up); the back left hand carries Agni (fire) in a vessel or in the palm of the hand; and the front left hand is held across his chest in the gajahasta (elephant-trunk) pose, with wrist limp and fingers pointed downward toward the uplifted left foot. The locks of Shiva’s hair stand out in several strands interspersed with flowers, a skull, a crescent moon, and the figure of Ganga (the Ganges River personified as a goddess). His figure is encircled by a ring of flames, the prabhamandala. In classic Sanskrit treatises on dance, this form, the most common representation of Nataraja, is called the bhujungatrasa (“trembling of the snake”).

    In this "Dance" or "Step" of the Divine Family, Mugo conjures two extra arms attached to his body while a wheel of fire spins slowly behind him. His body, including the extra arms are enhanced in strength and speed using Enhancing skills. He attacks using all four arms, landing a flurry of blows and knocking his opponent down to the ground so that he can stomp on them or "dance" on them similar to Nataraja who dances or stomps on the demon of ignorance. Even if his punches or kicks deal little damage, the flame wheel that spins behind him burns so hot that it will severely burn any who get too close to it.

  • Six armed God Kshipra Prasada Ganapati: Remover of Obstacles (六武装神 きシプラ プラ佐田 ガナパチ: 障害の除去器)- Kshipra Prasada Ganapati is the twentieth of the 32 forms of Ganesh, the elephant headed Hindu God of all existing beings. The son of Shiva and Parvati, Ganesh is the Lord of success and destroyer of evils and obstacles. He is also worshipped as the god of education, knowledge, wisdom and wealth.

    Kshipra Prasada Ganapati is  the destroyer of vanity, selfishness and pride. He is the personification of material universe in all its various magnificent manifestations. His head symbolizes the Atman or the soul, which is the ultimate supreme reality of human existence, and his human body signifies Maya or the earthly existence of human beings. The elephant head denotes wisdom and its trunk represents Om, the sound symbol of cosmic reality. In his upper right hand he holds a goad, which helps him propel mankind forward on the eternal path and remove obstacles from the way. The noose in his left hand is a gentle implement to capture all difficulties. The broken tusk that he holds like a pen in his lower right hand is a symbol of sacrifice, which he broke for writing the Mahabharata. The rosary in his other hand suggests that the pursuit of knowledge should be continuous. The laddoo (sweet) he holds in his trunk indicates that one must discover the sweetness of the Atman. His fan-like ears convey that he is all ears to our petition. The snake that runs round his waist represents energy in all forms. And he is humble enough to ride the lowest of creatures, a mouse which represents the demon of vanity.

    In this "Dance" or "Step" of the Divine Family, Mugo conjures a statue of the god himself. Mugo uses that conjured statue to force the opponent back or to a distance. The statue's arms will also attack should the opponent try to attack in a different direction.

  • Eight armed God Vighna Ganapati: Remover of Negativity (八武装神 ビグ略记 ガナパティ: 否定的の除去器)- Vighna Ganapati is the ninth form of the 32 forms of Ganesh. In this form, the god is depicted with eight arms similar to Lord Vishnu and holds the Shankha and Chakra on both left and right upper hand. The other hands hold his broken tusk and Modaka, noose and elephant goad, flower arrow, sugarcane and a battle ax. Vighna Ganapati’s trunk is curved with a bouquet of flowers and the lord wears plenty of ornaments.

    In this "Dance" or "Step" of the Divine Family, Mugo conjures a statue of the god Vighna Ganapati, the Remover of Negativity, who heals Mugo's wounds. Vighna Ganapati is special because it is the only healing power Mugo knows. Similar to The Healing Thumb Chain, it cures wounds by drawing from Enhancement abilities. If Mugo stays stationary while being healed, it can heal serious injuries, such as a fractured arm. However, don't be fooled by Mugo's stationary position. Vighna Ganapati protects Mugo with his free six arms and the ax he wields. Mugo doesn't use Vighna for much other than healing, however it is capable of offensive striking attacks the same as the other conjured statues.

  • Ten armed God Yama: Dance of Death (十武装神カーリー: 死の舞踏)- Yama, in the mythology of India, the god of the dead. The Vedas describe him as the first man who died, blazing the path of mortality down which all humans have since followed. He is the guardian of the south (the region of death) and presides over the resting place of the dead, which is located under the earth. In the Vedas, Yama was represented as a cheerful king of the departed ancestors, not as a punisher of sins, but in later mythology he became known as the just judge (Dharmaraja) who weighs the good and evil deeds of the dead and determines retribution. He is described as majestic in appearance, green or black, with red eyes and red garments. He carries a noose and a mace, which may be ornamented with a skull, and rides a buffalo. His two four-eyed dogs guard the entrance to his kingdom, and the crow and the pigeon act as his messengers.

    In Buddhism, Yama is the wrathful dharmapala who is Lord of the Hell Realm who the Wheel of Life in his hands while his terrible face, who represents impermanence, peers over the top of the Wheel. In spite of his appearance, Yama is not evil. He is a wrathful dharmapala, a creature devoted to protecting Buddhism and Buddhists. Although we may be frightened of death, it is not evil; just inevitable.

    In this "Dance" or "Step" of the Divine Family, Mugo conjures the ten arms of Yama which hold the Wheel of Life. This wheel, unlike the traditional depiction, is a wheel in which Mugo spins in order to determine how to kill his opponent and when they will die. However, this ability has been placed under a vow to never use Yama unless he has no other choice and a limiter which means he can't summon the ten arms of Yama unless certain conditions are met.

    The conditions to be met are:
    1. Two armed God is defeated.
    2. Four armed God is defeated.
    3. Six armed God is defeated.
    4. He must truly intend to inflict severe pain and death upon this person. If his heart does not truly desire such actions to be taken, conditions one through three are void.

    The wheel holds four layers:
  • The Hub- In this layer are three animals: a pig, a snake, and a bird. They represent the three poisons of ignorance, aversion, and attachment.

    The pig stands for ignorance; this comparison is based on the Indian concept of a pig being the most foolish of animals, since it sleeps in the dirtiest places and eats whatever comes to its mouth.

    The snake represents aversion or anger; this is because it will be aroused and strike at the slightest touch.

    The bird represents attachment (also translated as desire or clinging). The particular bird used in this diagram represents an Indian bird that is very attached to its partner. These three animals represent the three poisons, which are the core of the bhavacakra. From these three poisons, the whole cycle of existence evolves.

    Each animal depicts the persons "sin" as judged by the wheel.
  • Second layer- The second layer of the wheel shows two-half circles:
  • One half-circle (usually light) shows contented people moving upwards to higher states, possibly to the higher realms.
  • The other half-circle (usually dark) shows people in a miserable state being led downwards to lower states, possibly to the lower realms.

    These images represent karma, the law of cause and effect. The light half-circle indicates people experiencing the results of positive actions. The dark half-circle indicates people experiencing the results of negative actions.

    The brighter side of the circle determines if the person's "sin" is of a lighter tone while the darker side of the circle determines if the person's "sin" was of the darker tone.

  • Third layer- The third layer of the wheel is divided into six sections that represent the six realms of samsara. These six realms are divided into three higher realms and three lower realms.

  • The three higher realms are shown in the top half of the circle; the higher realms consist of the god realm, the demi-god realm and the human realm. The god realm is shown in the top middle and the human realm and demi-god realms are on either side of the god realm.

  • The three lower realms are shown in the bottom half of the circle; the lower realms consist of the hell realm, the animal realm and the hungry ghost realm. The hell realm is shown in the bottom middle of the circle, with the animal realm and hungry ghost realm on either side of the hell realm.

    The higher realms determine if the person is to receive a "light" death while the lower realms determine if the person is to receive a "hellish" death.
  • Outer Rim- The outer rim of the wheel is divided into twelve sections that represent the Twelve Nidānas. As previously stated, the three inner layers of the wheel show that the three poisons lead to karma, which leads to the suffering of the six realms. The twelve links of the outer rim show how this happens—by presenting the process of cause and effect in detail.

    These twelve links can be understood to operate on an outer or inner level.

  • On the outer level, the twelve links can be seen to operate over several lifetimes; in this case, these links show how our past lives influence our current lifetime, and how our actions in this lifetime influence our future lifetimes.

  • On the inner level, the twelve links can be understood to operate in every moment of existence in an interdependent manner. On this level, the twelve links can be applied to show the effects of one particular action.

    By contemplating on the twelve links, one gains greater insight into the workings of karma; this insight enables us to begin to unravel our habitual way of thinking and reacting.

  • The twelve causal links, paired with their corresponding symbols, are:
  • Avidyā lack of knowledge – a blind person, often walking, or a person peering out
  • Saṃskāra constructive volitional activity – a potter shaping a vessel or vessels
  • Vijñāna consciousness – a man or a monkey grasping a fruit
  • Nāmarūpa name and form (constituent elements of mental and physical existence) – two men afloat in a boat
  • Ṣaḍāyatana six senses (eye, ear, nose, tongue, body, and mind) – a dwelling with six windows
  • Sparśa contact – lovers consorting, kissing, or entwined
  • Vedanā pain – an arrow to the eye
  • Tṛṣṇa thirst – a drinker receiving drink
  • Upādāna grasping – a man or a monkey picking fruit
  • Bhava coming to be – a couple engaged in intercourse, a standing, leaping, or reflective person
  • Jāti being born – woman giving birth
  • Jarāmaraṇa old age and death – corpse being carried

    This determines the instrument or method to be used in killing the person the wheel has been spun for.

    Each layer spins independently from one another and stops spinning after the first layer has stopped spinning.

  • The figure holding the wheel- The wheel is being held by a fearsome figure who represents impermanence. The 14th Dalai Lama states:

    The fierce being holding the wheel symbolizes impermanence, which is why the being is a wrathful monster, though there is no need for it to wear ornaments and so forth.

    This figure is most commonly depicted as Yama, the lord of death. Regardless of the figure depicted, the inner meaning remains the same–that the entire process of cyclic existence (samsara) is transient; everything within this wheel is constantly changing but cannot be avoided.

    The holder of the Wheel has the following attributes:
  • He wears a crown of five skulls that symbolize the impermanence of the five aggregates. (The skulls are also said to symbolize the five poisons.)

  • He has a third eye that symbolizes the wisdom of understanding impermanence.
  • He is sometimes shown adorned with a tiger skin, which symbolizes fearfulness. (The tiger skin is typically seen hanging beneath the wheel.)

  • His four limbs (that are clutching the wheel) symbolize the sufferings of birth, old age, sickness, and death.


Basic Abilities

  • Immense Strength- Mugo is incredibly strong, ranking 3rd in the Route Troupe in terms of physical strength (which is composed of 5 of the most powerful PK users known). He can shatter rock and send a block of solid rock flying with a single kick.

  • Enhanced Speed and Reflexes- One of the pillars of his distinctive fighting style is his speed, matched with his surgical-like accuracy.

  • Enhanced Agility- Mugo is very agile, as he can attack from any position.
  • Enhanced Stamina- Mugo has never been seen tired after any of his fights, even after severe physical effort, mental strain and PK consumption.

  • Immense Resistance to Pain- Mugo appears impervious to pain, which seems to leave him unfazed when minimal and bring him pleasure when very intense. Though blows still damage him, they can't slow him down or incapacitate him. His inhuman resistance, coupled with what looks like a total disregard for his own life and an unquenchable battle frenzy, makes him seemingly unstoppable.

  • Formidable Coordination- His coordination may be considered the core of both of his offensive and defensive power. Thanks to it, he can adapt to any fighting style he faces and avoid most of the threats he may encounter. He is able to grab knives out of the air or catch a PK reinforced ball with the destructive capacity of a cannon ball.

  • Immense Perception- Mugo has proven to be able to sense not only the presence, but also the position of people hidden, even Killian's, whose degree of proficiency at it is described by friends as being perfect. It should be noted that he can be unable to notice that a person tailing him if he's in a terrible mental state because he hasn't killed anyone for so long. Partially thanks to his vast fighting experience, Mugo is capable of discerning a person's potential just by looking at them; on one occasion, he detected a very strong individual nearby and measured his strength without even seeing him.

  • Excellent Strategist- Mugo is very observant and able to guess the amount of strength a person possess, their talent and even future heights by simply looking at them. He invented a scale that measures the target's abilities, possibly reaching 100 as the top score. Who owns the rank of 100, or if it can be maxed out or even what Mugo's rank is unknown.

    Mugo can often tell what an opponent is thinking and how he will react at his moves. He can plan whole battles beforehand and prepare his victory right after the get-go. Furthermore his deviousness and volatility has prevented many opponents from anticipating his next move, and this has led him to win many battles.

    Furthermore, Combining his twisted genius with his prestigiatori skills, Mugo can set very elaborate and effective traps, often using Telekinesis to conceal his attacks. His tricks usually don't get discovered until after they are already in use. Instead of fearing pain, he sometimes seeks it, as a memento of his opponent. Summed up, what makes Mugo such a dangerous opponent is his unpredictability.


Last edited by Gungen on Fri May 13, 2016 8:17 pm; edited 6 times in total
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Age : 24

Character sheet
Name: Gituku Mugo (ギツク むご)
Age: 24
Occupation: Ex-Monk, Hunter, Route Troupe Member, PK & Psy-Nen user

PostSubject: Re: Gituku Mugo (ギツク むご)   Wed Aug 19, 2015 2:31 pm

PK

  • Geokinesis- The ability to manipulate matter in it's solid form.
  • Hydrokinesis- The ability to manipulate matter in it's liquid form.
  • Telekinesis- The ability to move objects with your mind. Often used interchangeably with the term psychokinesis, however psychokinesis is actually the umbrella term under which all the various "kinesises" resides.
  • Levitation- The ability to cause objects or ones own body to hover above the ground without the use of any type of lifting mechanism.

    6th Sense PK

    • Aura Reading- The ability to see/feel the energy field that surrounds all living things.
    • Intuition- A "knowing" of hidden events, often used interchangeably with the term clairsentience.
    • Psychometry- The ability to sense, read or interpret the energy signal left on an item by someone that has dealt with the item in the past.


    Fighting Skills

    • Shorinji Kempo ("Shaolin Temple Fist Law")- a Japanese martial art which considered as the modified version of Shaolin Kungfu. It was established in 1947 by Doshin So (宗 道臣), a Japanese martial artist and former military intelligence agent.

      Shorinji Kempo is a system of "self-defense training" (護身錬鍛), "mental training" (精神修養) and "promoting health" (健康増進), whose training methods are based on the concept that "spirit and body are not separable" (心身一如) and that it is integral to "train both body and spirit" (拳禅一如).

      Through employing a well-organized technical training schedule (科目表), Shorinji Kempo claims to help the practitioner "establish oneself" (自己確立) and to promote "mutual comfort" (自他共楽). The philosophy and techniques of Shorinji Kempo are outlined in their handbook, (少林寺拳法教範) Shōrinji-kempō-kyōhan.

      Shōrinji Techniques

      • Gōhō (剛法)- "Hard methods" or physical attacks which include:
      • Tsuki (突き)- strikes.
      • Keri (蹴り)- kicks.
      • Uchi (打ち)- hammers.
      • Kiri (切り)- cuts.
      • Kawashi (かわし)- evasions.

      • Jūhō (柔法)-  "Soft methods", meaning techniques to use when an opponent grabs hold of you. These techniques include:
      • Shuhō (守法)- "Defense methods" used to defend against grabbing or grappling techniques.
      • Nuki Waza (抜き技)- "Release techniques" used to cause the opponent to release the user of this technique when they're grabbed ahold of.
      • Gyaku Waza (逆技)- "Reverse techniques" used to reverse the opponents hold when they grab the user of this technique, thus making the user the one who has hold of their opponent.
      • Nage Waza (投技)- "Throwing techniques" used to throw the opponent when  they grab the user of this technique.
      • Katame Waza (固技)- "Pins" used to pin opponent to keep them from moving when they grab the user of this technique.
      • Seihō (整法)- This technique's name roughly means "correcting methods" and is techniques to recover the body. In essence, it means acupressure massage and simple forms of bone correcting (primarily the spine).

      • Champloo- simply a fighting style that takes bits and pieces from all forms of martial arts and breaking (or break-dancing) while making up the rest on-the-go or 'On-the-fly'. The user must have some knowledge of all forms of martial arts to use this ability.

      • Taijutsu-  (体術?, literally "body technique" or "body skill") is a Japanese blanket term for any combat skill, technique or system of martial art using body movements that are described as an empty-hand combat skill or system. The term is commonly used when referring to a traditional Japanese martial art but has also been used in the naming of modern martial arts such as Bujinkan Budo Taijutsu. More specific names than Taijutsu are typically used when describing a martial art, such as Jujutsu (focusing on throwing, grappling, and striking), Judo (focusing on throwing and grappling), Aikido (focusing on throwing and joint locks) as well as Karate and Kenpo (focusing on striking).

      • Muay Thai- 'Muai Thai' is a combat sport from the muay martial arts of Thailand that uses stand-up striking along with various clinching techniques. This physical and mental discipline which includes combat on foot is known as "the art of eight limbs" because it is characterized by the combined use of fists, elbows, knees, shins and feet, being associated with a good physical preparation that makes a full-contact fight very efficient. Muay Thai became popular in the sixteenth century, but became widespread internationally only in the twentieth century, when practitioners defeated notable practitioners of other martial arts.

      • Chinese Kenpo/Kung Fu- "Kung-fu" is a primarily unarmed Chinese martial art resembling karate.Wudang Martial Arts were created based on the Taoist ideology. Taoism holds that there are basic, everlasting and supernatural principles in the earth which are called “Tao” suggesting softness, quietness, emptiness, unification, fairness and harmony. All these can be presented according to Tai Chi, Yin and Yang, the Five Elements (water, gold, fire, wood and earth) and the Eight Diagrams tactics. Under the direction of these philosophical theories, this Kung Fu style gains good effects in the boxing and sword skills.

      • Jujustsu- A Japanese martial art and a method of close combat for defeating an armed and armored opponent in which one uses no weapon or only a short weapon. The word jujutsu is often spelled as jujitsu or ju-jitsu. It is also known as Japanese ju-jitsu.

        "Jū" can be translated to mean "gentle, soft, supple, flexible, pliable, or yielding." "Jutsu" can be translated to mean "art" or "technique" and represents manipulating the opponent's force against himself rather than confronting it with one's own force. Jujutsu developed among the samurai of feudal Japan as a method for defeating an armed and armored opponent in which one uses no weapon, or only a short weapon. Because striking against an armored opponent proved ineffective, practitioners learned that the most efficient methods for neutralizing an enemy took the form of pins, joint locks, and throws. These techniques were developed around the principle of using an attacker's energy against him, rather than directly opposing it.

        There are many variations of the art, which leads to a diversity of approaches. Jujutsu schools (ryū) may utilize all forms of grappling techniques to some degree (i.e. throwing, trapping, joint locks, holds, gouging, biting, disengagements, striking, and kicking). In addition to jujutsu, many schools teach the use of weapons.

        Today, jujutsu is practiced in both traditional and modern sport forms. Derived sport forms include the Olympic sport and martial art of judo, which was developed by Kanō Jigorō in the late 19th century from several traditional styles of jujutsu, and Brazilian jiu-jitsu, which was in turn derived from earlier (pre–World War II) versions of Kodokan judo.

      • Karate- A martial art developed in the Ryukyu Islands in what is now Okinawa, Japan. It was developed partially from the indigenous martial arts of Ryukyu Islands (called te (手, literally "hand") and from Chinese kenpo. Karate is a striking art using punching, kicking, knee strikes, elbow strikes and open hand techniques such as knife-hands, spear-hands,and palm-heel strikes. In some styles, grappling, throws, joint locks, restraints, and vital point strikes are also taught. A karate practitioner is called a karateka (空手家).

      • Hand-to-hand Combat- (sometimes abbreviated as HTH or H2H) is a lethal or non-lethal physical confrontation between two or more persons at very short range (grappling distance) that does not involve the use of firearms or other distance weapons. While the phrase "hand-to-hand" appears to refer to unarmed combat, the term is generic and may include use of striking weapons used at grappling distance such as knives, sticks, batons, or improvised weapons such as entrenching tools. While the term hand-to-hand combat originally referred principally to engagements by military personnel on the battlefield, it can also refer to any personal physical engagement by two or more combatants, including police officers and civilians.

        Combat within close quarters (to a range just beyond grappling distance) is commonly termed close combat or close-quarters combat. It may include lethal and non-lethal weapons and methods depending upon the restrictions imposed by civilian law, military rules of engagement, or ethical codes. Close combat using firearms or other distance weapons by military combatants at the tactical level is modernly referred to as close quarter battle. The U.S. Army uses the term combatives to describe various military fighting systems used in hand-to-hand combat training, systems which may incorporate eclectic techniques from several different martial arts and combat sports.


      Weapon(s) Information
      Name: Khakkhara ("Sounding Staff") Shakujō (錫杖 "Tin Staff").
      Type: Monk Staff.
      Description: A Buddhist ringed staff used primarily in prayer or as a weapon, that originates from India. The jingling of the staff's rings is used to warn small sentient beings (i.e. insects) to move from the carrier's path and avoid being accidentally trodden on. In ancient times it was used also to scare away dangerous animals. Ringing also is used to alert the faithful that there is a monk within earshot in need of alms. In the Sarvāstivāda vinaya the khakkhara is called the "sounding staff" because of the tinkling sound the rings make.

      A khakkhara may have either four rings representing the Four Noble Truths, six rings representing the Six Perfections, or twelve rings representing the twelvefold chain of cause and effect. A four ring khakkhara is carried by novice monks, a six ring khakkhara is carried by a Bodhisattva, and a twelve ring khakkhara is carried by the Buddha. Most commonly seen are those with six rings which have also been claimed to represent the six states of existence (humans, animals, hell, hungry ghosts, gods, and asuras).

      The khakkhara is the symbol of the Dharma and one of the eighteen objects which a Buddhist monk must carry. Shōrinji Kempō also contains methods of self-defense using the khakkhara but these methods are rarely practiced today.
      Strengths: In Japan the shakujō became a formidable weapon in the hands of a practiced Buddhist monk. It could be used as a staff to block and parry attacks and the metal rings at the tip could be slammed into an opponent's face to momentarily blind him. At the very tip of the metal finial is a sharp point which can be used to attack weak points of the body. The bottom end of the khakkhara has a metal butt which can be used to thrust and hit an opponent. An opponent's weapons can also be easily deflected.
      Weaknesses: All metal staff, but can be bent or broken with enough force. Can also be melted with high heat.
      Abilities: The wooden shaft can either be long for use as a walking stick or short to accompany in chanting. As a staff, the khakkhara could be wielded as a weapon. It has been used in defensive techniques by traveling Buddhist monks all over Asia for centuries and monks at the Shaolin temple in China specialized in its use.
      Image(s):



      Name: Poker Ripper (ポーカーリッパ).
      Type: Poker Cards.
      Description: A regular deck of poker cards and are used as razor-sharp blades, which he can use to cut up foes with tremendous speed, power and accuracy, or throw.
      Strengths: The cards are light weight, versatile and hold his Energy extremely well.
      Weaknesses: Fire, water, and can be torn.
      Abilities: Anything really....they're playing cards.
      Image(s):



      Background
      History:


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