Post by blackhack on Dec 26, 2009 0:23:09 GMT -4
Shinigami
Name: Grey
Gender: Male
Age: 278 l 23
Division: Former Division 2, Former Onmitsukido
Rank: Former Vice Captain
Physical Description:
The misty morning fog seems to glide over the top of Grey’s dark brown, curly hair treating it as a solid object rather than a porous one. His black hair is so dense and tightly packed with thin strands of black that even wind cannot find a path through it. The strands apparently curl unto themselves like springs to further the solidity of Grey’s hair. This curling in turn provides a rather bouncy effect should the hair ever be touched. Due to the lack of proper hair care or combing, Grey’s head appears to be a topped off by a lumpy mound of curly blackness. A very few stray, untamed strands make their own paths to the heavens and curl upwards here and there as if in rebellion of the norm. Even fewer than the untamed, genetic oddities grow out straight as arrows from the curly hilltop. There are few enough of these to count on one hand, two on off days. While mostly seen with this unkempt mini afro, Grey does on occasion cut his hair. In fact, he shaves his head down with his zanpakutou when things get a bit too out of hand. But his hair grows quickly back into its mini afro state after a short month. It seems to stall out at this time and grows much slower. It only grows wild after a long half year. The hair maintains a certain outline upon Grey’s face. He trims it to keep it out of the way and somewhat neat. The hair ends in a point in front of his two ears. He has short, pointed sideburns.
Ears slant out of Grey’s head. They lie an average distance outward. He is neither Dumbo eared nor seal faced but there is a hint to his fighting history in his ears. From the thousands if not millions of impacts to his head, Grey’s ears have grown slightly closer to the sides of his head, thus their slant backwards is increased to accommodate such.
Directly between his ears are two eyes with pitch black pupils. His pupils seem to be black holes drawing you in along with everything around you. Some may call his eyes seductive, menacing, mesmerizing, or evil. It all depends on your first impression I guess. The whites of his eyes break the darkness abruptly giving the blackness a clear perimeter. Black eyelashes bat as the dust blown from the wind hits his face. His eye lashes like most men’s are neither prominent nor unnoticeable. The same goes for his black brows which are not bushy but moderately occupied. The hairs within his brows stand vertical towards the center and slant more and more into a horizontal position as you move towards their respective ears.
Grey’s forehead is devoid of wrinkles showing young age. His skin color is a light bronze. Being of Hispanic descent and having worked under the rays of the sun served to bake his surface and toast him into a tan complexion. Neither freckles nor dark brown birth marks inhabit his face. Although, a very light scruff covers his jaw area only noticeable if peering at his skin from inches away. A rotund nose sprouts out below his eyes. The bridge of his nose is subtle and the most apparent feature of his nose is its width. While not extreme in comparison to something like a gorilla, Grey’s slightly wide and round nose displaced him in his Spanish European society back when he was mortal. Slightly plump lips accompany the gorilla nose as if a requirement. His lips are smooth and lightly colored with a soft red pink.
Grey’s chin is blunt and strong with a clear definition. A lack of excess fats denies any double chin effect or fat face syndrome. To support all of this is a wider than average neck with visible acquired strength from training. Veins do not show as Grey’s strength is a natural one but the sheer size implies some type of neck exercise. The neck spans outward and attaches to a strong and able torso Directly below Grey’s chin is his clavicle or collar bone. In Grey, these are quite visible and while one takes the correct path from the bottom center of the neck to the shoulder the other does not and instead angles up before its outline disappears. One of his collar bones was fractured and displaced from its original position.
Grey’s body in its entirety is lean with minimal visible lumps or plump. At five feet with three inches and an average weight of one hundred and forty pounds, Grey is short and light allowing him sudden, super quick movement and an agility which in most cases is unmatched. While light, Grey is far from skinny. His torso and limbs are well defined. Muscle is packed onto his body but he retains a natural muscle definition as opposed to the big, slow and bulky body builder physique. Overall, Grey is a bronze bullet with average strength and blinding speed.
Grey’s choice of outfit does not seem to suit him unless one knows his past. Wrapped tightly around Grey’s torso are long black bandages about two inches wide. The bandages are thin and skin tight to reduce air drag from hair. Although originally pitch black, the bandages appear a dark gray due to fraying. The bandages cover his entire torso from lower abs to lower neck but do not extend onto Grey’s arms. They stop suddenly at his shoulders. Above this first piece of apparel, Grey slips into a jet black vest of cotton. The vest is a unique design following the taut logic of the bandages. The vest is sleeveless and stops just as the bandages stop. A small, inch high collar rises along Grey’s neck. It is parted in the front and can be reconnected with a set of dark gray frog buttons. These oriental buttons are typically found on kung fu jackets and make use of a large knot fitting into a loop counterpart. The vest wraps around Grey’s side a few inches beneath his shoulder by use of a stretchy cotton fabric component. The piece seems to be infused with rubber strands for elastic capability. Although stretchable, the cloth acts to tighten around Grey, to give the vest a form as close to Grey’s as possible rather than take on a sagged state of looseness. The vest is small and ends at the waist.
Just as the vest ends, a sagging gray sash wraps lightly around Grey’s waist and sits upon his hips with very little tautness. The sash ripples with every breeze and flows like water through the air. A simple over hand knot ties off the sash at Grey’s right side. The two ends flow outward in the breeze batting wildly in the wind, while hanging down in a light sway when Grey remains still. The sash is three inches wide and close to three meters in length. Two wraps are sufficient to encompass Grey’s waist while allowing for the two flowing ends. Made of the same cotton blend as the vest and bandages, it has no gloss.
The gray sash is wrapped around a pair of pure black pants. These pants are also made of cotton and are a bit baggy in comparison to the skin tight torso logic. The pants are loose and ample to allow for the full range of leg movement. A split in these won’t end with ripped pants. The ankle ends of the pants seem to be scrunched up around Grey’s legs. These ends are folded over and within them they house a rubber band which holds taut around Grey’s ankles. This restricts the excessive movement of cloth when kicking. Although the waist end of the pants is covered by the sash, it too is folded over and designed in the same manner with a black rope integrated into it as opposed to the rubber band. This weaved black rope allows Grey to easily tighten his pants around his waist to prevent them from falling or loosen them after a big meal. A square white patch is stitched on the left pant leg. Stitched into that white patch in black string is the Chinese symbol for light.
Springing from beneath his pants, Grey dons skin tight black socks which slide into light tan, raw hide sandals. The sandals only have two woven hide strands at the toes to keep themselves on Grey’s feet. Often he loses them and continues on in his socks. Although mostly found in cheap raw hide slippers, Grey does own a pair of manmade tai chi slippers. These black shoes form to his feet and are just as light as the raw hide sandals while providing more traction and a better rubber sole for protection from rocks and other hazardous floor inhabitants.
Atop all of this, Grey dons an unusual haori. A light gray color, the haori closely resembles the formal coats of the Gotei 13 Captains. Bearing no number upon his back, Grey’s rear view is plain and seems to be missing something and yearning for some type of adornment to be plastered upon it.
Like the haori of the Gotei Captain’s, Grey’s coat is loose and flowing. The slightest breeze causes the fabric to ripple and sway. At where would be Grey’s wrists, the haori darkens to a dark gray. A six inch wide band of his darker gray fabric wraps around the end of the sleeves. It is a second layer upon the lighter gray textile but tight stichwork makes the two separate entities move as one. This same band can be found around the bottom of the haori where it would cover Grey’s legs.
A hard collar pops up around Grey’s neck. It’s only an inch high but noticeable. A small trim of dark grey fabric wraps around the upper trim line. The trim runs down the middle of Grey’s body along the separations of the haori. The two halves of the coat are lined with dark grey frog buttons.
Reference links:
Chinese symbol for light: translate.reference.com/translate#dict_header
All white Chinese Jacket along with folded white Kung Fu pants
Tai chi Slippers
Personality:
Self Control is the word with Grey. He strives to control himself in mind, body and spirit. Thus his actions are well thought out and put through a series of mental filters before actually being enacted. It only takes him seconds to decide whether a future act is in his favor or not but nonetheless each is run under a microscope to investigate the smallest of details within them and afterwards brought upon a scale to weigh the pros and cons. Meanwhile; morality, sincerity, benevolence and acquired wisdom pick apart the action to refine it. In the end, Grey acts intelligently and quickly trying each moment to make the appropriate decision for the situation at hand. This process of thought and action is used frequently due to the philosophy of mindfulness emphasized in Grey’s martial practice. He may at times be so lost in thought as to be oblivious to the world around him or act relatively slowly for the task at hand. This leads to Grey speaking few words and being almost always silent. In important matters, few things are expelled from his lips without scrutiny.
All the thought that is put into thinking about actions is also superimposed onto emotions, feelings and their outward display. Grey is what some would call “emotionless” while others that actually know him would rather call it “calm”. His most consistent state is that of a silent calm like that of a still lake. He carries along with that a perpetual feeling of optimism and happiness that seems to ooze out and seep into those around him although he remains mute. While mostly without emotion, Grey shows bursts of feeling at times. Exploding with rage in heated battles for brief periods or breaking out into unstoppable laughter after a joke. He may seem to always be in control emotionally but the most subtle of things like an intelligent pun or memory could set him off on a minute long laugh or day long smile. During Grey’s training in the Shinigami Academy, he seemed to keep his head under most situation, remaining cool calm and collected under stress or when outnumbered in sparring. His many friends and peers all agreed upon his consistent and almost constant calmness which in turn earned him the nickname, “Kokimi-kun” meaning Sentiment Master.
While being calm and calculated, Grey still remains an amicable, approachable and likeable guy. He gets along with others very well and people tend to look at him as a good friend rather quickly due to his silence and willingness to listen. He tries his best to have as few enemies as possible but jealousy and other malicious emotions are things he cannot control in others. But for the most part, he starts little controversy with others and stays out of the gossip.
Grey has few dislikes and seems to appreciate life in every experience, be it good or bad for him, but he does to have two major dislikes. Grey despises those who discriminate for whatever reason. He acknowledges others with a blank slate regardless of appearance, race, color, rank and so on; and expects others to do the same. This doesn’t always happen as some people have rather corrupted ideas and opinions. Grey also dislikes people who talk too much. As one who greatly appreciates silence and introspection, Grey would be the type to walk away from a talkative person or stuff their boot in their mouth if annoyed enough.
Self control is a big part of who Grey is but some things do bypass that seemingly constant logic. Grey is headstrong and shows a great deal of perseverance, throwing himself forward at full force, never giving less than his best. Especially when it’s something worth having that he knows he can acquire. Most of the time, this perseverance is expressed in training because he strives to achieve the same level of skill as those he knows to be the best. This perseverance also is displayed upon something which most would never expect Grey to go crazy for, women. Somewhat of a womanizer and pervert, when Grey sees a woman he wants he goes after her at full speed. This can deem itself unhealthy when that woman turns him down. Grey has never been good with rejection.
When Grey is denied by any woman he may be after at the moment, he falls into a very somber state of melancholy depression. His movements become sluggish and laziness takes hold. Like an emo, he, at least figuratively, assumes the fetal position in a corner surrounded by shadows. He mutters on about his loneliness and how, “No one likes me.” A truly pathetic thing becomes of him before Haiirohane, his zanpakuto spirit, slaps sense back into him, literally in some cases. The reason for his depressions mostly is that Grey has never felt the passion of a woman, not even in his human lifetime. He died a virgin before coming to Soul Society. As such he has a centuries long yearn for the heat of a female.
Grey has the soul of a warrior. A fighting spirit some may call it, that urges him into combat. Discipline restrains him from participating in meaningless quarrels. Even so, he is brave and it shows whenever he rushes to aid a companion or victim. He is passionate for battles and treats them as sacrilegious ceremonies meant to test the body, mind and spirit. Honor in combat is upheld for the most part unless severely broken on his combatant’s part.
Cool, calm and collected are the characteristics which would accompany Grey’s mention in any conversation of personality but those seem to disappear when under certain, influences. Grey has never been good at holding his alcohol and after only a few sips falls into a state of slurred drunkenness. His actions become quick and rash. He approaches those around him without inhibition and regard for personal space. His perverted mind leads him to grope surrounding women. While he has never gone as far as to rape a woman, he always ends up running after women in a perverted, drunken stagger with his mouth drooling.
History: -doesn't fit-
Additional Info:
Pa Kua Chang Kung Fu – As a human, Grey underwent training in a style of kung fu known as Pa Kua Chang or Eight Trigram Palms under Master Bok Nam Park. Through years of training, as a human before death, his body grew a muscle memory which stayed with him through to the afterlife, along with memory of his Shifu’s teachings. During his time in Soul Society, being devoid of any friends or acquaintances, Grey resorted to the few things he remembered, Kung Fu being one of them. His continued practice allowed him to reach great heights in body control, focus, and inevitably hand to hand combat. Grey’s practice in Pa Kua Chang, an internal style of kung fu, allowed him to improve his control over his reiatsu. Pa Kua is an internal style that relies more on one’s inner chi and the circulation of that in order to produce great force. This is different from the external styles like Karate or even other styles of kung fu like Shaolin Longfist that rely more on muscle strength. While Pa Kua taps into ones chi for power it also uses the weight of the user’s entire body in each strike. This is produced by means of specific snake-like movements throughout the body. The intense footwork training in Pa Kua has given him agility in hand to hand combat that surpasses most foes. This eventually extends into Grey’s Hoho and allows him to use Hoho with such mastery as to be untouchable. With so much training in Kung Fu, Grey has also gained enhanced endurance and stamina, giving him the ability to not only outmaneuver but outlast his opponents. In the end, Grey’s body is also a weapon, not to be taken lightly even if his zanpakuto has left his hands.
Overall – Grey’s method of combat can be summed up by the philosophy of efficiency in Pa Kua Chang. The notions are simple and the sayings profound. The idea of evasion is summed up by these saying, “When a train is coming, you do not stand on the tracks. Close your door and do not be there.” The idea of distance is encompassed in this saying, “Closest weapon, closest target, quickest escape.” A last saying speaks of combat, “Offense and Defense are but the black and white in a sea of gray.” These sayings are the basic parameters which Grey’s style of fighting follows. These lead him to use short, quick movements with devastating power and shock capability. He utilizes confusion and deception to gain the upper hand and there is no such thing as dirty fighting in his book. A fight is about life and death with little to no rules of conduct. His blade may start an attack or follow a kick after a clean dodge. His sash may zip him from place to place for an entire battle; only to confuse his opponent into thinking he can’t use shunpo. Sand can serve to blind and dust to hide. The environment is as much a tool as his zanpakuto is a weapon.
General
Name: Haiirohane
Spirit Description:
Appearance:
Twelve feet long from tooth to tail, Haiirohane is an oriental dragon. Unlike the western dragons, with wings and fat guts, Haiirohane’s body is long, cylindrical and slender like a snake’s. Although snake-like, four limbs exhume from Haiiro’s sides in two pairs. Closer to the tail, a pair of strong legs take shape. The muscles in the dragon’s legs are not large but are extremely well defined, as if sculpted from white marble. The dragon’s skin is a very light shade of gray close to white in appearance. At the ends of the legs are clawed feet. Five, sliver claws spout out from five finger-like appendages. This symbolizes the dragon as being imperial in Japanese culture. While at the dragon’s ankle it is bare skin that skin begins to transform into hard, pure white scales that clad the dragon’s calves and thighs.
This armor of white scales continues onto Haiirohane’s long torso. The scales only occupy the top side and transform into a soft skin, underbelly in a smooth gradient along the sides. The scales extend along the entire upper portion from the tip of the tail to the beginnings of the head. The soft skin underbelly of the beast is the same light shade of gray found at the feet and where every else there is soft skin. The underbelly ripples up and down in round hills and sharp creases like those of snakes and other reptile relatives.
Haiiro’s tail is a thinning continuation of his body about four feet of his total length. A few straight, silver strands shoot out of the tip of the tail. They extend outward for a few inches. Traveling up the tail, back along the torso and past the legs, a pair of arms extrude from the Haiiro’s sides. Clad in white, hard scale armor down to the forearm, Haiiro’s arms are slender yet defined. The dragon’s hands are clawed with silver bones like those on his feet and the same five fingers spout from the palm.
At the neck, or rather the torso’s transition into the head, Haiirohane’s white scales transition into smooth skin. The ripples along his belly cease and flatten to produce a light grey uniformity. Just as the scales end, silver hairs spring out around his neck in something similar to a lion’s mane. Haiiro’s head is long with powerful jaws being the focus. Lined within Haiirohane’s mouth are sharp, curved, silver teeth. A strong snout takes occupation of the area above the upper lip. Above the upper jaw, the skin ripples up in smooth hills like that of a snarling dog’s. Along the sides of the jaw, near the snout, spew two long whiskers of flowing white light. The whiskers flow past the head stopping a few inches from the arms. Near the beginnings of the upper jaw are mounted two pure white eyes. Devoid of pupils, the eyes exhume a faint glow of white luminance.
Behind Haiiro’s eyes, on top of his head and next to his fox-like ears, are two bright horns of light. Like the sun, these horns seem to be of solid light and discoloration from white into shades of gray shows differences in radiance and temperature throughout the horns’ surfaces. Unlike a bull’s horns, which are curved and have one sharp tip at the very end, Haiirohane has dragon horns unique to oriental dragons. They are like branches spouting from his head. Their texture is like that of old wood without its bark, over run with wrinkles. The horn branches off into three smaller cylinders which have their ends flat as if cut. The central split remains the longest while the other two curving divisions to the sides take on shorter lengths.
While a solid entity, Haiiro has a certain translucency about him when he is in motion, as if his solidity becomes loosened with movement. A glow of white light surrounds his entire body like a holy aura and is especially bright at his eyes and horns.
Personality:
Nagging and questioning are what Grey would say his zanpakuto spirit loves to do. Haiiro enjoys asking Grey what he is thinking about or what his thoughts are on a situation, past, present or future. While Grey finds this annoying at some points, Haiirohane is just trying to have Grey speak more often to him as opposed to the usual silence. Originally, Grey thought of Haiiro as a tool meant to be used and controlled rather than a friend with feelings and thoughts of its own. Haiiro had to take the initiative in order to soften Grey up a bit. Now, their relationship is like that of traveling companions but Grey still remains somewhat reluctant to fully open up.
Haiirohane’s voice is not deep and booming like that typically associated with a dragon. This is because the deep, wise voice is something that comes from age. Haiiro’s voice is average, neither deep nor childishly high pitched. If his voice were to dictate his age, one would say that he would be a young dragon entering adulthood. If human, he would be in his early to mid twenties. While not having the most wise of voices, Haiiro lectures Grey at times and lends advice during battle. Sometimes, the dragon will go as far as to lend moral support and push Grey further when his wielder has seemed to lose all hope.
Haiirohane is a bit claustrophobic and deeply dislikes enclosed places such as the wakizashi he is kept in. Many a time does he complain and whine about the cramped, uncomfortable space within the blade. Due to its strong desire to maintain itself in the open, Haiiro has found a way to release itself by materializing outside of the blade in Grey’s world. The dragon will appear in Grey’s realm when it pleases and will return to its home when forced or asked to return back by Grey. The dragon will most likely appear when it senses a battle or strong opponent. It will leap out ready to partake in a war. While gentle outside of combat, Haiiro is a battle hungry spirit that grows anxious when it senses potential challenges. He maintains a docile character until confronted with any opportunity to challenge his power and strength. Haiirohane is fight crazy but at the same time he holds himself high with warrior’s pride. His pride makes him detest the weak and dislike fighting those he deems unfit to challenge him. Applying that pride elsewhere, Haiiro is lazy on assigned missions and would rather roam around looking for the next powerhouse to fight against.
Inner World:
Grey’s inner world is a farm similar to the one from his human childhood. Although he does not remember it, there is a strong sense of his previous existence here. The weather is a constant sunshine with few clouds. Only three fluffs of white are ever seen floating about in the sky. The farm is large, about a one mile diameter and the farm’s wooden fences surround it in a circle. The fences are simple logs crafted into cylinders. Their positioning is reminiscent of most Hispanic farms where wood is plentiful. Two beams are embedded in the earth and stand vertical. Into them are cut two holes, one lower than the other. Two horizontal beams span their distance and insert themselves into the holes or slots. Two more beams insert themselves via the opposite ends of the vertical members’ holes to continue the pattern until the desired space is enclosed or the desired length of fence is crafted.
The separation the fence marks is drastic. One side of the fence, which in this case is considered outside grounds that do not belong to the farm, is a dense forest of trees, mostly pine and other evergreen. Within the fence is flat, gray dirt. Dusty, lumpy and overturned the dirt within the farm remains forever in a state of upheaval as if just tilled. This tilled gray dirt goes on for awhile with no interruptions. The farm has neither an outside entrance nor an exit to the outside. The fence goes on forever in an unbroken circle keeping back the wild forest. The dirt land is barren and void of any life. No living soul wanders the farm nor does anything wander into the farm from the outside forest.
The dusty gray dirt stops at the center of the farm space and is replaced by a complex of wood and metal. A one story house occupies the biggest plot of dirt. Reddish brown, the wood on the house’s exterior is wrinkled from age. These creases are filled with a thin gray powder similar to snow. The house has a simple sloped roof. The angle is a bit obtuse giving the home a flat, wide look. Almost perfectly square, the house has a nearly symmetrical shape. One side is occupied by two wide windows. The windows are separated in four sections by thin pieces of wood in a cross shape. Shutters hang along their sides, their color faded to the original reddish brown wood. Coming around to the front of the house, we find two smaller windows similar to the ones from before with shutters, but now a door takes position between them. The door is solid wood with a dusty gold knob fashioned onto it. A small porch extrudes from the bottom of the house and extends out like a tongue for seven to eight feet.
The next side has a small fence attached to it. Only one window takes up residence in the center of the right side of the house. This fence encases a semi oval plot of dirt. Within these bounds are kept a six foot long chicken coop and a long, empty wooden case meant to be filled with water. At the back of the house, a door with a small set of three stairs leads out to more farm. A bit off of the house, next to the chicken coop, is a tall metal container, a silo. Cylindrical in shape, the silo has a flat top with a rusty metal ladder running in a spiral along its sides. Every exterior face of the complex seems to be enveloped in a thin film of gray powder.
Through the door found at the front of the house, one enters to face an upward staircase. The staircase leads into darkness where the eye can no longer follow. Only a small golden glimmer comes out of the darkness. To the right there is a living room with two burgundy cushioned couches. One couch lies along the same wall as the door and under the window seen from outside. Black curtains hang along the sides of the window. On the next wall adjacent to this one, there lies the second couch beneath the next window. A dusty plant occupies the next corner. On this wall the windows are absent and replaced by hanging picture frames. These picture frames are positioned around a closed, solid wood door embedded in this wall. It bears a silver knob. The next wall is cut diagonally by the stairs. Up against this stair wall is a table draped in an elaborate fabric. The fabric has glittering embroidery of gold, silver, ruby and other colored strands. Atop this cloth there are more picture frames positioned upright. In the center of the room, between the couches is a rectangular rug with similar bright and shiny embroidery to the previous fabric. Atop the rug is a simple, four legged table made of wood. The legs curve like an “S” and a flat glass top rests on these S’s. More picture frames stand on this table. Although containing objects with vibrant colors, the walls and floor remain the reddish brown wood hue seen on the outside of the home. But all of these colors are faded and watered down by a film of gray powder that blankets the room. Everything from the floor to the picture frames are clouded by dust. The glass screen of the picture frames are completely blocked out by dust so knowledge of whether or not the frame even contains a photograph cannot be discerned.
The next room, to the left of the stairs is completely empty. Light shines through the windows and takes a rectangular shape along the floor. A cross of shadow splits the light into four rectangles. The same curtains from the other room hang along the sides of the windows but these are white. The three rectangles of light are cast onto the floor from the three windows, one on the same wall next to the door and two along the next wall. The three beams of light that shine through the windows all converge at the center of the room upon the only two things occupying its space. A Dao or Chinese Broad Sword lies next to an upright picture frame. The frame is gold and devoid of the dust which covers everything, although the glass plate is still covered in dust and indiscernible. The dao has a golden guard and handle. The handle’s butt is golden but about eighty percent of the hilt is wrapped in a black cloth. The blade has a brilliant silver sheen due to the shining sunlight upon it. A thin, pure red cloth spouts out the butt of the handle for about a foot. Its end is shredded as if it has been cut many times and eaten by moths.
All components of the farm complex, including the interior of the house are covered by this dust except for one. A barn rises from the dirt a few yards away from the silo. The barn is painted red and has the typical barn roof. One angled slant abruptly steepens as it nears the side of the barn. The door of the barn is wide and takes up about eighty percent of the entire front face. A chain holds the door shut. From within the barn spews out white light. This light gives the barn a surrounding white atmosphere of glowing radiance. The light flails slowly like smoke before fading away into nothing.
Sealed:
In some ways, Grey’s zanpakuto is similar to the zanpakuto of other shinigami. It is a sword with a handle, guard and blade that harbors a spirit or rather piece of the shinigami’s soul. But once these general connections are made, the similarities cease to continue. Haiirohane or Gray Wing is far from the average zanpakuto. With a length shorter than the katana of his fellow shinigami, Grey’s short sword falls into the category of wakizashi at a small two feet in total length including the sheath. Haiirohane appears to be a sword that was thrown into a bucket of dull gray paint before being pulled out and left to air dry. The paint is dusty and passing wind along the zanpakuto carries away particles of paint.
The sheath which carries the deadly blade of Haiirohane is a long oval, slightly curved to accommodate for the subtle upward bend of the blade. The bow of the blade is only a degree or two but it’s enough to require a curved container. Rough and dull is the thick coat of gray paint covering the sheath. It looks as though it was dipped into a vat of dull, gray paint as the coat has visible solidified drips and sags. At the two ends of the sheath, the tip and the point of blade entry, the paint grows thicker and wider. A good inch of sheath on both ends is noticeably higher than the rest. Clearly, some extra piece surrounds the sheath on either end and hides beneath the dull gray paint.
A hilt guard lies along one end of the sheath. It too is drenched in a dull paint and displays an uneven distribution. Shaped like a tear drop, one side of the guard is a round semi oval while the other side thins to a sharp point. The teardrop follows the orientation of the sheath with its pointed top and round bottom aiming in the same up and down direction as the peaks of the oval sheath. The direction of the curve and shape of the sheath along with the direction of the guard suggests that the zanpakuto is meant to be wielded with a falling tear drop. The guard, like the sheath, has no shine or gloss.
The forever frozen drip coat of dull gray paint which dominated the exterior of the sheath and guard continues beyond the guard. A cylindrical object protrudes from the center of the guard for about six inches before abruptly stopping. It has a round oval profile like that of the sheath but with a significantly smaller diameter of about two inches. The dull, uneven paint coat continues from the guard unbroken onto this piece making them seem like one continuous unit. The paint, however uneven, carries upon its surface the features it hides beneath. Clear slopes and valleys show a diamond criss-cross pattern hidden beneath along with some type of ornamentation or increase in girth at the butt of the piece. Knowing the basic outline of swords, one can tell that this is the hilt or handle of the sword.
The unsheathing of Haiirohane, even while sealed is quite the show. Retrieving the blade from within the sheath is difficult and requires a large amount of effort. This is due to the coat of paint which needs to be broken in order to separate blade from sheath. But rather than shatter along the perimeter, the paint stretches and thins as Grey pulls away at the hilt. The paint acts like a soft rubber and begins to tear at its thinnest points as the forces of tension upon it rise. The separations and gaps leave strands of paint which continue to elongate as Grey pulls. What is revealed through the newly formed openings in the elastic paint is that there is no visible blade. A final tug snaps the remaining strands which then flail about wildly as if having minds of their own. The symbiotic paint strands whirl and twirl to wrap around an invisible blade. The strands mold and melt to form a curved, single edged blade. The zanpakuto remains its appearance of having been dropped in gray paint.
Shikai
Activation Phrase: Fa-mujin Toppa, Haiirohane [Break through the farm dust, Grey Wing]
Appearance:
To release his shikai, Grey squeezes the hilt of Haiirohane with enough sudden force to crack the paint. The cracks spread from his hand or hands and radiate out along the blade. They run all along the hilt, guard and blade from tip to tip. White light bursts from beneath the paint in a small firecracker explosion at the handle. The paint chips fly off of the hilt and guard and disintegrate away as gray dust. Once the commotion subsides, the blade is left looking quite different to its sealed state.
The dull, gray coat of paint still covers the blade but it is ridden with shining cracks. A white light permeates through the cracks from beneath the coat of paint and provides the entire wakizashi with a faint white surrounding aura. The edge remains sharp however cracked it may be and the top side of the blade is still blunt.
At the guard, the dull gray smear is completely gone and instead the guard radiates a pearly bright white. As if made of a shimmering white metal, the guard has a metallic sheen along with porcelain like reflectivity. It gives off its own glow of light which is noticeably brighter than the aura surrounding the blade. The basic shape and form of the guard remains unchanged for the most part. It is still a falling tear drop when wielded correctly. The only difference from the sealed guard is the overall thickness. While the sealed zanpakuto had a thick coat of gray paint which brought the breadth of the guard to a quarter of an inch, the removal of that coat slimmed the piece tremendously to a very thin sixteenth of an inch. The edges of the tear drop also are sharpened for deadly defensive counters.
Like the guard, the hilt is completely devoid of any gray paint. It too shines with a radiance of its own that matches that of the guard and makes the aura of the blade seem dimmed. The handle is radically different from its sealed appearance. With the coat of paint removed, all of its intricate details and ornamentation get the spotlight. A pure silver cylinder connects the guard to the hilt. The hilt is crafted of an alloy, a mixture of silver along with some other white metal to produce a very light gray handle. Wrapped around this metal base are two sets of white strands. A Japanese wakizashi crafted in the traditional way, the strand sets weave above and below each other while changing direction each time to wrap tightly around the metal base. A diamond pattern is formed. Premeditated extrusions of the metal base fill in the empty diamond shaped areas to lock in the cloth and prevent it from moving out of place. This pattern of cloth weaving improves grip on the handle and prevents slippage. A silver metal piece caps off the end of the handle. On the butt of the hilt, engraved upon the surface of the cap is a full bodied, oriental dragon in flight between two highly stylized clouds. The dragon bears five claws emphasizing an imperial royalty. Its claws are sheathed symbolizing non violence and a desire to end fighting as opposed to starting it. A closed mouth and exposed fangs indicate to watch what comes out of the jaws of the dragon.
The sheath of Haiirohane also gets a makeover. The paint coat drips off to reveal the same shimmering white, metallic porcelain look carried by the guard. It is discovered that the two ends in fact hold ornaments, silver ornaments. The decorations are similar in that they are both flat renditions of dragon’s heads which bite into the sheath with fangs in order to fasten themselves on. The details of the dragon heads are carved and engraved into the silver. Although relatively flat in comparison to a more three dimensional dragon head sculpture, the adornments are so meticulously crafted that the human mind simply fills in the remaining area to add realism and possible volume. The differences in the pieces are obvious ones. Both heads look towards each other so they obviously face opposite directions. The dragon head at the point of blade entry has a hole stamped out in order to allow the blade into the sheath, while the opposite piece does not. As is with most embellishments upon Grey, the pieces are symbols with deep meanings. The biting of the dragon heads into the sheath implies a perseverance and persistence despite the circumstances to getting a job done. Even if it means using ones teeth to prevent losing grip of the task in front of one’s face. A second meaning hidden within the positioning of the heads is that a conflict is always between opposing sides connected by a common topic. Be the conflict internal or external, there are always at least two sides.
Abilities: -don't fit-
Bankai
Activation Phrase: Fa-mujin Ou Kara, Akado Haiiro [Grow through the farm dust, Light Gray]
Appearance: -doesn't fit-
Abilities: -doesn't fit-
Shunpo / Flash Step - A movement ability that allows the user to move faster than the eye can follow.
Hado
[1] Thrust - Pushes target away from the caster.
[4] White Lightning - Fires a concentrated bolt of from the caster's finger.
Bakudo
[1]Restrain - Locks a target's arms in place behind their back. Requires the user to be close to the target and with a clear sight to them. This technique is weak and someone of equal strength to the user could easily break out if given a little time.
Other Characters: none accepted
Role Play Sample:
“Tears?” Grey looked up into the sky as droplets of rain crashed down upon his brown skinned face. The water ran down across his cheeks and down his neck to be absorbed by his dry raiment. The rain soaked into the fibers of his clothing as Grey stood awestruck in the open courtyard covered in bluish white tiles. It was always quite odd when rain fell in Soul Society. The mood was always sad as if the droplets symbolized the Soul King’s unhappiness or pain, the Soul King being the ruler and leader of the entire collection of realms. Within which were the white deserts of Hueco Mundo, the oblivious mortal world and finally the home of wholes and shinigami, Soul Society. Overcast gray skies replaced the usually clear or scarcely clouded sunny scene of Soul Society’s overhead mural. Most of the newer souls at Soul Society were always amazed by the condensed droplets of reiatsu which fell as rain since this only happened in Soul Society every few centuries. The buildup of evaporated, free flowing reiatsu needed to make the clouds heavy with liquid energy took quite a while as the amounts accumulated rather sluggishly. Although sadness fell and spread around Soul Society like an immense blanket, the reiatsu rain held a revitalizing quality which balanced the sadness with the feeling of freshness upon contact with a soul, giving the deceased persons a glimpse into their mortal lives, when a shower in the rain felt, for some odd reason, so rejuvenating. Rain always brought out the souls from their dwellings just to relieve the sadness and bask in the reviving reiatsu. Grey was no exception to this as he too was brought out, almost mindlessly, to stand in the rain.
White tiles of ceramic or marble or some other bluish white stone were laid out in a perfect square grid beneath the Division Two Captain. In the openness of the almost empty courtyard, looking in either direction from anywhere in the courtyard would clearly reveal a horizon based vanishing point as the grid lines all seemed to converge upon one spot in a flat horizontal plane. Boundary setting walls erected around the courtyard lessened this feeling of endless distance with their vertically laid selves perpendicular to the flat grid underlay below. The upright walls held the same blue tinted white hue of the tiles till the small gabled roof cap upon the top came into view. A triangular piece resembling the Japanese style roofs and even utilizing the same roofing tiles capped off the top of the wall to give the area a Japanese touch much like all of Soul Society.
Nothing much else resided in the courtyard, mainly because of its location. A desolate scene when really thought about. One of the walls which encased this open courtyard seemed to be on steroids as it was nearly five stories high. In comparison to the six to seven feet high minor courtyard walls, this one was built on a ten to one scale. Even the triangular Kara-Hafu roof cap of the wall was exploded to monstrous proportions. Still though, the tile size remained the same as those upon the smaller wall. Only now, with so many necessary to cover the piece, it looked like an oceanic wave of roofing tiles which descended down to a shade producing gable. Within this wall was held a supersized double door. This was Sereitei’s southern gate. Unlike the western gate which lifted straight up and was made of metal latched wood planks, the southern gate was a similarly large size but rather than being one sliding face which lifted only with great strain, the southern gate slid apart with its two door swing configuration. This gateway was also exponentially better crafted than the menacing, barbarian, wood and metal western gate. Two dark, navy blue marble stones with white to light blue tinted lighting-like veins formed the two door gate. Each of these large marble rectangular prisms was held to the surrounding wall by two brilliant metal hinges resembling silver in their white, shiny radiance. Although in this overcast, sunless sky, they looked to be a bland, pale gray color.
Everything in Seireitei seemed to be covered in an invisible film of water as the rain enveloped it. Running down the walls and off the slopes of the Kara-Hafu roof caps, waterfalls of liquid reiatsu fell down upon the tiles only to pool up a few centimeters. Even though no drains or slope carried the water to a predisposed location for storage or containment, the water did not rise any higher than a few centimeters. When given a closer look, something amazing is seen. The rain was both evaporating and solidifying into vapor and layers of tile respectively. The extremely infrequent rainfall in Soul Society not only revitalized the souls occupying it but also the surrounding reiatsu environment by means of providing a rejuvenating effect upon the seemingly constant area’s elements. When the view is expanded back into a bird’s eye and scanned over the battle scared Sereitei, the blown out walls and blast ridden ruins come out and actually pop out in the rain as they glow slightly under this liquid reiatsu. Under the effects of the rain, the walls and ruins begin to absorb the reiatsu rain and grow back into their original states as if having minds of their own and memory of their previous forms.
This same clear film formed over the tan brown skin of Grey. The liquid coated his black curly hair giving it a gleam and shine which lent even more implication to his wetness. The liquid pooled within the half inch high labyrinth of nappy hair as larger globs and droplets only to come together and run down as streams along his face. The downward running water navigated its way down his forehead and through the smaller patches of hair over his eyes. Passing the brows, it curved around his small optical globes and round gorilla-like nose before meeting full lips and finally dropping off of his chin.
The droplets soaked deep into the thin fabric of a black cloth wrapped around Grey’s chest. The water followed the wrapping contours of the skin tight black bandages as it dampened the textile. In proper order, the water seeped into the next layer of black raiment over Grey’s torso. Converging at the waist, the fluid drenched a rigid black, sleeveless vest, which angled away from his center line leaving a “V” shaped void to expose the black bandages underneath. Although rigid, the usually perky arch tips at the shoulder of the outer layer of black vest frowned slightly downward while the typically taut dark bandages beneath grew fat and loosened.
The water continued outwards from Grey’s chest to meet another already drenched fabric. Over the black vest set, the Captain donned his gray, Gotei Thirteen Division Two haori, which, from the current weather of falling tears, was already drenched down to the last fiber. The open coat was a dull gray unlike the usually white captain coats seen in Sereitei and on the back but on the back side, Grey still displayed the black numbered diamond designating his squad.
Pulled by the hands of gravity, the reiatsu fluid flowed through the layers of cloth into the next piece of attire resting gently upon Grey’s hips. The rain droplets rolled like wheels over the rippled curves of the Captain’s loosely tied gray sash. While three inches wide when flat, the scrunched sash took a more compact, almost cylindrical shape as it wrapped itself around his hips before knotting back into itself and dangling down a foot or so in two separate strands over Grey’s right side. This wet sash made contact with a pair of black pants and like the previous happenings drew the water into it. Unlike the black, divided hakamas of the usual shinigami, Grey chose to walk around in a pair of baggy black, Kung Fu practice pants. Although less loose and flowing, the baggy kung fu pants allowed for maximum range of movement without the excess material that could possible get snagged or hamper passage through the air. As the falling rains of reiatsu and traveling fluid upon Grey converged on his pants, they moistened them and caused a clinging action along with the inevitable sag from sheer wet weight. Two strands of weaved black rope drooped over the Captain’s crouch. Tracing back up revealed their true origin. They extruded from two opposite holes on the front and very top of Grey’s pants. The top seemed to be folded over and sewn to encase this string which could be used to tighten the waist of the pants. This scrunched over sew was apparent elsewhere in the pants. The ankle ends had the same style of tightened embroidery except without the woven black rope hanging out. Instead, pre-stretched rubber strands seemed to have been woven into the stitching in order to provide a stretchy yet taut quality. Although the strands were not visible, no other form of needlework could possible provide the same properties without taking use of rubber string.
Clinging to his skin, black socks shot out from underneath the pants to completely cover Grey’s feet. The prominent space between the big toe and the rest of the toes would suggest tabi style socks but that was not the case at all. The soaked, brown hay strand of a raw hide Japanese sandal separated the toe from its brothers and rested in the crevice between. These sandals did not wrap behind Grey’s heels like the typically issued pairs worn by the shinigami. Instead, the one strand, which separated into two to wrap at the front of the foot was the only support for keeping the sandal sole to the Captain’s foot.
The wet figure of Grey stood straight in the downpour, completely alone and devoid of companions. He looked up at the crying skies with a nearly indiscernible face that only touched upon the emotions of sadness and loneliness. Although these were seen slightly at the surface and mostly dictated by the sagging eyes, the open, relaxed mouth gave a sense of relief. It appeared that even the emotion controlling Kibun-Teicho was susceptible to unexpected uprising of feelings thought to be under wraps.
A rare happening, but then again the sadness inducing yet revitalizing reiatsu rain was a rare happening as well. It was as if the two went hand in hand; the rare rain and the rare flares of wild feeling.
The rain soaked everything not under cover. Although, it didn’t seep into the zanpakutou held within Grey’s sash beneath his coat. On his left side, hung a two foot long wakizashi encased within its sheath.
Rain drops ran down the hilt and guard. As the droplets rolled over the glossy, gray painted sheath, they changed color and viscosity before finally dripping down from the case. A pool of gray paint was forming next to Grey. With each drip of transformed rain, the sword faded from the handle to the guard to the sheath as if being melted into the paint pool.
This mass of gray along the ground began to run along the tiles floor. An oddity since the ground was perfectly flat with no inclination to cause the paint to do so. The pool began to bubble as it moved around like a snake. Stopping abruptly, its bubbling became more rapid and expanded upwards and outwards. The bubbles sunk into a flowing mass of paint which rippled its way up and out. It grew in six singularly planar directions along with upwards. The rain appeared to be giving it more liquid to work with. The paint grew to immense proportions dwarfing the Captain easily at ten to twelve feet long. As if with a mind of its own, the gray mass began to round out and harden. Four main limbs became more and more apparent along with a serpent tail and long necked head. Still rippling like a liquid, the paint formed a vague image well known in the serpent realm and oriental mythology.
Solidification of the paint and metamorphosis from liquid to solid began to take place as the “body” came to final realization in its rippling, liquid vagueness. Starting at the outermost extremes, the phase change from liquid to solid crept in towards the center as if an invisible series of hot winds were drying off the fluid. Four major limbs on the sides of the paint figure identified themselves as arms and legs by the sets of shiny, light gray claws. Each set of five claws on each limb jut out from medium gray, soft skinned fingers. As the paint continued its rapid dehydration, the soft skin upon the powerful serpentine claw hands turned subtly into diamond hard, light gray scales. The scales stretched tightly upon the muscles of the forming beast and did not hide its physical strength. At another end, the paint dried not as a claw but as silver hairs. A slim bush of fine silver hairs formed the tip of the creature’s tail. The hairs extruded from a soft skinned tail tip which, like the clawed hands, subtly shifted from skin soft to scale hard. Although covering the entire top side of the beast in scales, the under belly remained a rippled, soft skin texture. Along the upper most points on the top side where the spine would be located, flowed locks of silver hairs like those on the tip of the tail. These were lined up perfectly in a row running down the spine of the serpentine beast. A reverse trace of the trail of silver hair led to its source as the platinum foliage culminated on the beast’s head. The hard scales transformed subtly back into the soft skin that tightly stretched across the face of this still forming oriental dragon. Large white eyeballs occupied the space seemingly designated as the sockets. The eyes were completely white like those of a blind man. An odd glow of white light along with flowing strands of semi-transparent white flame exhumed from the blind, white eyes like horizontal steam from a hot object in the cold environment of winter. Its long dragon snout snorted out small smoke puffs of bright white light as it breathed. As the wet gray paint continued to dry, its lips thinned and turned to curved cones. Glossy, light gray fangs occupied the hanging jaw of the dragon as it came to full realization.
“Hrr,” The dragon beast carried a subtle, constant growl in its voice. Grey reluctantly turned his head away from the heavens and looked upon the dragon. “The rain does you good too, Haiiro.”
The dragon’s arms and legs spanned out as if the dragon were performing a yawning stretch. “Yea,” its neck swirled around and twisted a bit producing a few bone scraping noises, “being cooped up in there for so long helps to. Besides, this is pure reiatsu.”
The Captain smirked slightly and turned back to stare upwards, “True…”
Haiiro flattened out and lay on the floor like a long, grayscale rope of flesh and bone. With its colors ranging from white to medium gray, the dragon would have been an artist’s eighth wonder.”Who you waiting on?” The dragon’s chin rested flat on the ground.
“No one in particular,” Grey turned his head to look at Haiiro sarcastically, “I can’t just enjoy a shower now?”
“The dragon let out a growled chuckle, “Don’t want me to know that bad huh…”
Grey turned back as if unaffected by the comment. He let out a sigh of loneliness as he looked to the clouds.
”If pond
need pond,
between them
through earth and green
shall stem
a silent stream.”
General Information
Name: Grey
Gender: Male
Age: 278 l 23
Division: Former Division 2, Former Onmitsukido
Rank: Former Vice Captain
Physical Description:
The misty morning fog seems to glide over the top of Grey’s dark brown, curly hair treating it as a solid object rather than a porous one. His black hair is so dense and tightly packed with thin strands of black that even wind cannot find a path through it. The strands apparently curl unto themselves like springs to further the solidity of Grey’s hair. This curling in turn provides a rather bouncy effect should the hair ever be touched. Due to the lack of proper hair care or combing, Grey’s head appears to be a topped off by a lumpy mound of curly blackness. A very few stray, untamed strands make their own paths to the heavens and curl upwards here and there as if in rebellion of the norm. Even fewer than the untamed, genetic oddities grow out straight as arrows from the curly hilltop. There are few enough of these to count on one hand, two on off days. While mostly seen with this unkempt mini afro, Grey does on occasion cut his hair. In fact, he shaves his head down with his zanpakutou when things get a bit too out of hand. But his hair grows quickly back into its mini afro state after a short month. It seems to stall out at this time and grows much slower. It only grows wild after a long half year. The hair maintains a certain outline upon Grey’s face. He trims it to keep it out of the way and somewhat neat. The hair ends in a point in front of his two ears. He has short, pointed sideburns.
Ears slant out of Grey’s head. They lie an average distance outward. He is neither Dumbo eared nor seal faced but there is a hint to his fighting history in his ears. From the thousands if not millions of impacts to his head, Grey’s ears have grown slightly closer to the sides of his head, thus their slant backwards is increased to accommodate such.
Directly between his ears are two eyes with pitch black pupils. His pupils seem to be black holes drawing you in along with everything around you. Some may call his eyes seductive, menacing, mesmerizing, or evil. It all depends on your first impression I guess. The whites of his eyes break the darkness abruptly giving the blackness a clear perimeter. Black eyelashes bat as the dust blown from the wind hits his face. His eye lashes like most men’s are neither prominent nor unnoticeable. The same goes for his black brows which are not bushy but moderately occupied. The hairs within his brows stand vertical towards the center and slant more and more into a horizontal position as you move towards their respective ears.
Grey’s forehead is devoid of wrinkles showing young age. His skin color is a light bronze. Being of Hispanic descent and having worked under the rays of the sun served to bake his surface and toast him into a tan complexion. Neither freckles nor dark brown birth marks inhabit his face. Although, a very light scruff covers his jaw area only noticeable if peering at his skin from inches away. A rotund nose sprouts out below his eyes. The bridge of his nose is subtle and the most apparent feature of his nose is its width. While not extreme in comparison to something like a gorilla, Grey’s slightly wide and round nose displaced him in his Spanish European society back when he was mortal. Slightly plump lips accompany the gorilla nose as if a requirement. His lips are smooth and lightly colored with a soft red pink.
Grey’s chin is blunt and strong with a clear definition. A lack of excess fats denies any double chin effect or fat face syndrome. To support all of this is a wider than average neck with visible acquired strength from training. Veins do not show as Grey’s strength is a natural one but the sheer size implies some type of neck exercise. The neck spans outward and attaches to a strong and able torso Directly below Grey’s chin is his clavicle or collar bone. In Grey, these are quite visible and while one takes the correct path from the bottom center of the neck to the shoulder the other does not and instead angles up before its outline disappears. One of his collar bones was fractured and displaced from its original position.
Grey’s body in its entirety is lean with minimal visible lumps or plump. At five feet with three inches and an average weight of one hundred and forty pounds, Grey is short and light allowing him sudden, super quick movement and an agility which in most cases is unmatched. While light, Grey is far from skinny. His torso and limbs are well defined. Muscle is packed onto his body but he retains a natural muscle definition as opposed to the big, slow and bulky body builder physique. Overall, Grey is a bronze bullet with average strength and blinding speed.
Grey’s choice of outfit does not seem to suit him unless one knows his past. Wrapped tightly around Grey’s torso are long black bandages about two inches wide. The bandages are thin and skin tight to reduce air drag from hair. Although originally pitch black, the bandages appear a dark gray due to fraying. The bandages cover his entire torso from lower abs to lower neck but do not extend onto Grey’s arms. They stop suddenly at his shoulders. Above this first piece of apparel, Grey slips into a jet black vest of cotton. The vest is a unique design following the taut logic of the bandages. The vest is sleeveless and stops just as the bandages stop. A small, inch high collar rises along Grey’s neck. It is parted in the front and can be reconnected with a set of dark gray frog buttons. These oriental buttons are typically found on kung fu jackets and make use of a large knot fitting into a loop counterpart. The vest wraps around Grey’s side a few inches beneath his shoulder by use of a stretchy cotton fabric component. The piece seems to be infused with rubber strands for elastic capability. Although stretchable, the cloth acts to tighten around Grey, to give the vest a form as close to Grey’s as possible rather than take on a sagged state of looseness. The vest is small and ends at the waist.
Just as the vest ends, a sagging gray sash wraps lightly around Grey’s waist and sits upon his hips with very little tautness. The sash ripples with every breeze and flows like water through the air. A simple over hand knot ties off the sash at Grey’s right side. The two ends flow outward in the breeze batting wildly in the wind, while hanging down in a light sway when Grey remains still. The sash is three inches wide and close to three meters in length. Two wraps are sufficient to encompass Grey’s waist while allowing for the two flowing ends. Made of the same cotton blend as the vest and bandages, it has no gloss.
The gray sash is wrapped around a pair of pure black pants. These pants are also made of cotton and are a bit baggy in comparison to the skin tight torso logic. The pants are loose and ample to allow for the full range of leg movement. A split in these won’t end with ripped pants. The ankle ends of the pants seem to be scrunched up around Grey’s legs. These ends are folded over and within them they house a rubber band which holds taut around Grey’s ankles. This restricts the excessive movement of cloth when kicking. Although the waist end of the pants is covered by the sash, it too is folded over and designed in the same manner with a black rope integrated into it as opposed to the rubber band. This weaved black rope allows Grey to easily tighten his pants around his waist to prevent them from falling or loosen them after a big meal. A square white patch is stitched on the left pant leg. Stitched into that white patch in black string is the Chinese symbol for light.
Springing from beneath his pants, Grey dons skin tight black socks which slide into light tan, raw hide sandals. The sandals only have two woven hide strands at the toes to keep themselves on Grey’s feet. Often he loses them and continues on in his socks. Although mostly found in cheap raw hide slippers, Grey does own a pair of manmade tai chi slippers. These black shoes form to his feet and are just as light as the raw hide sandals while providing more traction and a better rubber sole for protection from rocks and other hazardous floor inhabitants.
Atop all of this, Grey dons an unusual haori. A light gray color, the haori closely resembles the formal coats of the Gotei 13 Captains. Bearing no number upon his back, Grey’s rear view is plain and seems to be missing something and yearning for some type of adornment to be plastered upon it.
Like the haori of the Gotei Captain’s, Grey’s coat is loose and flowing. The slightest breeze causes the fabric to ripple and sway. At where would be Grey’s wrists, the haori darkens to a dark gray. A six inch wide band of his darker gray fabric wraps around the end of the sleeves. It is a second layer upon the lighter gray textile but tight stichwork makes the two separate entities move as one. This same band can be found around the bottom of the haori where it would cover Grey’s legs.
A hard collar pops up around Grey’s neck. It’s only an inch high but noticeable. A small trim of dark grey fabric wraps around the upper trim line. The trim runs down the middle of Grey’s body along the separations of the haori. The two halves of the coat are lined with dark grey frog buttons.
Reference links:
Chinese symbol for light: translate.reference.com/translate#dict_header
All white Chinese Jacket along with folded white Kung Fu pants
Tai chi Slippers
Personality:
Self Control is the word with Grey. He strives to control himself in mind, body and spirit. Thus his actions are well thought out and put through a series of mental filters before actually being enacted. It only takes him seconds to decide whether a future act is in his favor or not but nonetheless each is run under a microscope to investigate the smallest of details within them and afterwards brought upon a scale to weigh the pros and cons. Meanwhile; morality, sincerity, benevolence and acquired wisdom pick apart the action to refine it. In the end, Grey acts intelligently and quickly trying each moment to make the appropriate decision for the situation at hand. This process of thought and action is used frequently due to the philosophy of mindfulness emphasized in Grey’s martial practice. He may at times be so lost in thought as to be oblivious to the world around him or act relatively slowly for the task at hand. This leads to Grey speaking few words and being almost always silent. In important matters, few things are expelled from his lips without scrutiny.
All the thought that is put into thinking about actions is also superimposed onto emotions, feelings and their outward display. Grey is what some would call “emotionless” while others that actually know him would rather call it “calm”. His most consistent state is that of a silent calm like that of a still lake. He carries along with that a perpetual feeling of optimism and happiness that seems to ooze out and seep into those around him although he remains mute. While mostly without emotion, Grey shows bursts of feeling at times. Exploding with rage in heated battles for brief periods or breaking out into unstoppable laughter after a joke. He may seem to always be in control emotionally but the most subtle of things like an intelligent pun or memory could set him off on a minute long laugh or day long smile. During Grey’s training in the Shinigami Academy, he seemed to keep his head under most situation, remaining cool calm and collected under stress or when outnumbered in sparring. His many friends and peers all agreed upon his consistent and almost constant calmness which in turn earned him the nickname, “Kokimi-kun” meaning Sentiment Master.
While being calm and calculated, Grey still remains an amicable, approachable and likeable guy. He gets along with others very well and people tend to look at him as a good friend rather quickly due to his silence and willingness to listen. He tries his best to have as few enemies as possible but jealousy and other malicious emotions are things he cannot control in others. But for the most part, he starts little controversy with others and stays out of the gossip.
Grey has few dislikes and seems to appreciate life in every experience, be it good or bad for him, but he does to have two major dislikes. Grey despises those who discriminate for whatever reason. He acknowledges others with a blank slate regardless of appearance, race, color, rank and so on; and expects others to do the same. This doesn’t always happen as some people have rather corrupted ideas and opinions. Grey also dislikes people who talk too much. As one who greatly appreciates silence and introspection, Grey would be the type to walk away from a talkative person or stuff their boot in their mouth if annoyed enough.
Self control is a big part of who Grey is but some things do bypass that seemingly constant logic. Grey is headstrong and shows a great deal of perseverance, throwing himself forward at full force, never giving less than his best. Especially when it’s something worth having that he knows he can acquire. Most of the time, this perseverance is expressed in training because he strives to achieve the same level of skill as those he knows to be the best. This perseverance also is displayed upon something which most would never expect Grey to go crazy for, women. Somewhat of a womanizer and pervert, when Grey sees a woman he wants he goes after her at full speed. This can deem itself unhealthy when that woman turns him down. Grey has never been good with rejection.
When Grey is denied by any woman he may be after at the moment, he falls into a very somber state of melancholy depression. His movements become sluggish and laziness takes hold. Like an emo, he, at least figuratively, assumes the fetal position in a corner surrounded by shadows. He mutters on about his loneliness and how, “No one likes me.” A truly pathetic thing becomes of him before Haiirohane, his zanpakuto spirit, slaps sense back into him, literally in some cases. The reason for his depressions mostly is that Grey has never felt the passion of a woman, not even in his human lifetime. He died a virgin before coming to Soul Society. As such he has a centuries long yearn for the heat of a female.
Grey has the soul of a warrior. A fighting spirit some may call it, that urges him into combat. Discipline restrains him from participating in meaningless quarrels. Even so, he is brave and it shows whenever he rushes to aid a companion or victim. He is passionate for battles and treats them as sacrilegious ceremonies meant to test the body, mind and spirit. Honor in combat is upheld for the most part unless severely broken on his combatant’s part.
Cool, calm and collected are the characteristics which would accompany Grey’s mention in any conversation of personality but those seem to disappear when under certain, influences. Grey has never been good at holding his alcohol and after only a few sips falls into a state of slurred drunkenness. His actions become quick and rash. He approaches those around him without inhibition and regard for personal space. His perverted mind leads him to grope surrounding women. While he has never gone as far as to rape a woman, he always ends up running after women in a perverted, drunken stagger with his mouth drooling.
History: -doesn't fit-
Additional Info:
Pa Kua Chang Kung Fu – As a human, Grey underwent training in a style of kung fu known as Pa Kua Chang or Eight Trigram Palms under Master Bok Nam Park. Through years of training, as a human before death, his body grew a muscle memory which stayed with him through to the afterlife, along with memory of his Shifu’s teachings. During his time in Soul Society, being devoid of any friends or acquaintances, Grey resorted to the few things he remembered, Kung Fu being one of them. His continued practice allowed him to reach great heights in body control, focus, and inevitably hand to hand combat. Grey’s practice in Pa Kua Chang, an internal style of kung fu, allowed him to improve his control over his reiatsu. Pa Kua is an internal style that relies more on one’s inner chi and the circulation of that in order to produce great force. This is different from the external styles like Karate or even other styles of kung fu like Shaolin Longfist that rely more on muscle strength. While Pa Kua taps into ones chi for power it also uses the weight of the user’s entire body in each strike. This is produced by means of specific snake-like movements throughout the body. The intense footwork training in Pa Kua has given him agility in hand to hand combat that surpasses most foes. This eventually extends into Grey’s Hoho and allows him to use Hoho with such mastery as to be untouchable. With so much training in Kung Fu, Grey has also gained enhanced endurance and stamina, giving him the ability to not only outmaneuver but outlast his opponents. In the end, Grey’s body is also a weapon, not to be taken lightly even if his zanpakuto has left his hands.
Overall – Grey’s method of combat can be summed up by the philosophy of efficiency in Pa Kua Chang. The notions are simple and the sayings profound. The idea of evasion is summed up by these saying, “When a train is coming, you do not stand on the tracks. Close your door and do not be there.” The idea of distance is encompassed in this saying, “Closest weapon, closest target, quickest escape.” A last saying speaks of combat, “Offense and Defense are but the black and white in a sea of gray.” These sayings are the basic parameters which Grey’s style of fighting follows. These lead him to use short, quick movements with devastating power and shock capability. He utilizes confusion and deception to gain the upper hand and there is no such thing as dirty fighting in his book. A fight is about life and death with little to no rules of conduct. His blade may start an attack or follow a kick after a clean dodge. His sash may zip him from place to place for an entire battle; only to confuse his opponent into thinking he can’t use shunpo. Sand can serve to blind and dust to hide. The environment is as much a tool as his zanpakuto is a weapon.
Zanpakuto
General
Name: Haiirohane
Spirit Description:
Appearance:
Twelve feet long from tooth to tail, Haiirohane is an oriental dragon. Unlike the western dragons, with wings and fat guts, Haiirohane’s body is long, cylindrical and slender like a snake’s. Although snake-like, four limbs exhume from Haiiro’s sides in two pairs. Closer to the tail, a pair of strong legs take shape. The muscles in the dragon’s legs are not large but are extremely well defined, as if sculpted from white marble. The dragon’s skin is a very light shade of gray close to white in appearance. At the ends of the legs are clawed feet. Five, sliver claws spout out from five finger-like appendages. This symbolizes the dragon as being imperial in Japanese culture. While at the dragon’s ankle it is bare skin that skin begins to transform into hard, pure white scales that clad the dragon’s calves and thighs.
This armor of white scales continues onto Haiirohane’s long torso. The scales only occupy the top side and transform into a soft skin, underbelly in a smooth gradient along the sides. The scales extend along the entire upper portion from the tip of the tail to the beginnings of the head. The soft skin underbelly of the beast is the same light shade of gray found at the feet and where every else there is soft skin. The underbelly ripples up and down in round hills and sharp creases like those of snakes and other reptile relatives.
Haiiro’s tail is a thinning continuation of his body about four feet of his total length. A few straight, silver strands shoot out of the tip of the tail. They extend outward for a few inches. Traveling up the tail, back along the torso and past the legs, a pair of arms extrude from the Haiiro’s sides. Clad in white, hard scale armor down to the forearm, Haiiro’s arms are slender yet defined. The dragon’s hands are clawed with silver bones like those on his feet and the same five fingers spout from the palm.
At the neck, or rather the torso’s transition into the head, Haiirohane’s white scales transition into smooth skin. The ripples along his belly cease and flatten to produce a light grey uniformity. Just as the scales end, silver hairs spring out around his neck in something similar to a lion’s mane. Haiiro’s head is long with powerful jaws being the focus. Lined within Haiirohane’s mouth are sharp, curved, silver teeth. A strong snout takes occupation of the area above the upper lip. Above the upper jaw, the skin ripples up in smooth hills like that of a snarling dog’s. Along the sides of the jaw, near the snout, spew two long whiskers of flowing white light. The whiskers flow past the head stopping a few inches from the arms. Near the beginnings of the upper jaw are mounted two pure white eyes. Devoid of pupils, the eyes exhume a faint glow of white luminance.
Behind Haiiro’s eyes, on top of his head and next to his fox-like ears, are two bright horns of light. Like the sun, these horns seem to be of solid light and discoloration from white into shades of gray shows differences in radiance and temperature throughout the horns’ surfaces. Unlike a bull’s horns, which are curved and have one sharp tip at the very end, Haiirohane has dragon horns unique to oriental dragons. They are like branches spouting from his head. Their texture is like that of old wood without its bark, over run with wrinkles. The horn branches off into three smaller cylinders which have their ends flat as if cut. The central split remains the longest while the other two curving divisions to the sides take on shorter lengths.
While a solid entity, Haiiro has a certain translucency about him when he is in motion, as if his solidity becomes loosened with movement. A glow of white light surrounds his entire body like a holy aura and is especially bright at his eyes and horns.
Personality:
Nagging and questioning are what Grey would say his zanpakuto spirit loves to do. Haiiro enjoys asking Grey what he is thinking about or what his thoughts are on a situation, past, present or future. While Grey finds this annoying at some points, Haiirohane is just trying to have Grey speak more often to him as opposed to the usual silence. Originally, Grey thought of Haiiro as a tool meant to be used and controlled rather than a friend with feelings and thoughts of its own. Haiiro had to take the initiative in order to soften Grey up a bit. Now, their relationship is like that of traveling companions but Grey still remains somewhat reluctant to fully open up.
Haiirohane’s voice is not deep and booming like that typically associated with a dragon. This is because the deep, wise voice is something that comes from age. Haiiro’s voice is average, neither deep nor childishly high pitched. If his voice were to dictate his age, one would say that he would be a young dragon entering adulthood. If human, he would be in his early to mid twenties. While not having the most wise of voices, Haiiro lectures Grey at times and lends advice during battle. Sometimes, the dragon will go as far as to lend moral support and push Grey further when his wielder has seemed to lose all hope.
Haiirohane is a bit claustrophobic and deeply dislikes enclosed places such as the wakizashi he is kept in. Many a time does he complain and whine about the cramped, uncomfortable space within the blade. Due to its strong desire to maintain itself in the open, Haiiro has found a way to release itself by materializing outside of the blade in Grey’s world. The dragon will appear in Grey’s realm when it pleases and will return to its home when forced or asked to return back by Grey. The dragon will most likely appear when it senses a battle or strong opponent. It will leap out ready to partake in a war. While gentle outside of combat, Haiiro is a battle hungry spirit that grows anxious when it senses potential challenges. He maintains a docile character until confronted with any opportunity to challenge his power and strength. Haiirohane is fight crazy but at the same time he holds himself high with warrior’s pride. His pride makes him detest the weak and dislike fighting those he deems unfit to challenge him. Applying that pride elsewhere, Haiiro is lazy on assigned missions and would rather roam around looking for the next powerhouse to fight against.
Inner World:
Grey’s inner world is a farm similar to the one from his human childhood. Although he does not remember it, there is a strong sense of his previous existence here. The weather is a constant sunshine with few clouds. Only three fluffs of white are ever seen floating about in the sky. The farm is large, about a one mile diameter and the farm’s wooden fences surround it in a circle. The fences are simple logs crafted into cylinders. Their positioning is reminiscent of most Hispanic farms where wood is plentiful. Two beams are embedded in the earth and stand vertical. Into them are cut two holes, one lower than the other. Two horizontal beams span their distance and insert themselves into the holes or slots. Two more beams insert themselves via the opposite ends of the vertical members’ holes to continue the pattern until the desired space is enclosed or the desired length of fence is crafted.
The separation the fence marks is drastic. One side of the fence, which in this case is considered outside grounds that do not belong to the farm, is a dense forest of trees, mostly pine and other evergreen. Within the fence is flat, gray dirt. Dusty, lumpy and overturned the dirt within the farm remains forever in a state of upheaval as if just tilled. This tilled gray dirt goes on for awhile with no interruptions. The farm has neither an outside entrance nor an exit to the outside. The fence goes on forever in an unbroken circle keeping back the wild forest. The dirt land is barren and void of any life. No living soul wanders the farm nor does anything wander into the farm from the outside forest.
The dusty gray dirt stops at the center of the farm space and is replaced by a complex of wood and metal. A one story house occupies the biggest plot of dirt. Reddish brown, the wood on the house’s exterior is wrinkled from age. These creases are filled with a thin gray powder similar to snow. The house has a simple sloped roof. The angle is a bit obtuse giving the home a flat, wide look. Almost perfectly square, the house has a nearly symmetrical shape. One side is occupied by two wide windows. The windows are separated in four sections by thin pieces of wood in a cross shape. Shutters hang along their sides, their color faded to the original reddish brown wood. Coming around to the front of the house, we find two smaller windows similar to the ones from before with shutters, but now a door takes position between them. The door is solid wood with a dusty gold knob fashioned onto it. A small porch extrudes from the bottom of the house and extends out like a tongue for seven to eight feet.
The next side has a small fence attached to it. Only one window takes up residence in the center of the right side of the house. This fence encases a semi oval plot of dirt. Within these bounds are kept a six foot long chicken coop and a long, empty wooden case meant to be filled with water. At the back of the house, a door with a small set of three stairs leads out to more farm. A bit off of the house, next to the chicken coop, is a tall metal container, a silo. Cylindrical in shape, the silo has a flat top with a rusty metal ladder running in a spiral along its sides. Every exterior face of the complex seems to be enveloped in a thin film of gray powder.
Through the door found at the front of the house, one enters to face an upward staircase. The staircase leads into darkness where the eye can no longer follow. Only a small golden glimmer comes out of the darkness. To the right there is a living room with two burgundy cushioned couches. One couch lies along the same wall as the door and under the window seen from outside. Black curtains hang along the sides of the window. On the next wall adjacent to this one, there lies the second couch beneath the next window. A dusty plant occupies the next corner. On this wall the windows are absent and replaced by hanging picture frames. These picture frames are positioned around a closed, solid wood door embedded in this wall. It bears a silver knob. The next wall is cut diagonally by the stairs. Up against this stair wall is a table draped in an elaborate fabric. The fabric has glittering embroidery of gold, silver, ruby and other colored strands. Atop this cloth there are more picture frames positioned upright. In the center of the room, between the couches is a rectangular rug with similar bright and shiny embroidery to the previous fabric. Atop the rug is a simple, four legged table made of wood. The legs curve like an “S” and a flat glass top rests on these S’s. More picture frames stand on this table. Although containing objects with vibrant colors, the walls and floor remain the reddish brown wood hue seen on the outside of the home. But all of these colors are faded and watered down by a film of gray powder that blankets the room. Everything from the floor to the picture frames are clouded by dust. The glass screen of the picture frames are completely blocked out by dust so knowledge of whether or not the frame even contains a photograph cannot be discerned.
The next room, to the left of the stairs is completely empty. Light shines through the windows and takes a rectangular shape along the floor. A cross of shadow splits the light into four rectangles. The same curtains from the other room hang along the sides of the windows but these are white. The three rectangles of light are cast onto the floor from the three windows, one on the same wall next to the door and two along the next wall. The three beams of light that shine through the windows all converge at the center of the room upon the only two things occupying its space. A Dao or Chinese Broad Sword lies next to an upright picture frame. The frame is gold and devoid of the dust which covers everything, although the glass plate is still covered in dust and indiscernible. The dao has a golden guard and handle. The handle’s butt is golden but about eighty percent of the hilt is wrapped in a black cloth. The blade has a brilliant silver sheen due to the shining sunlight upon it. A thin, pure red cloth spouts out the butt of the handle for about a foot. Its end is shredded as if it has been cut many times and eaten by moths.
All components of the farm complex, including the interior of the house are covered by this dust except for one. A barn rises from the dirt a few yards away from the silo. The barn is painted red and has the typical barn roof. One angled slant abruptly steepens as it nears the side of the barn. The door of the barn is wide and takes up about eighty percent of the entire front face. A chain holds the door shut. From within the barn spews out white light. This light gives the barn a surrounding white atmosphere of glowing radiance. The light flails slowly like smoke before fading away into nothing.
Sealed:
In some ways, Grey’s zanpakuto is similar to the zanpakuto of other shinigami. It is a sword with a handle, guard and blade that harbors a spirit or rather piece of the shinigami’s soul. But once these general connections are made, the similarities cease to continue. Haiirohane or Gray Wing is far from the average zanpakuto. With a length shorter than the katana of his fellow shinigami, Grey’s short sword falls into the category of wakizashi at a small two feet in total length including the sheath. Haiirohane appears to be a sword that was thrown into a bucket of dull gray paint before being pulled out and left to air dry. The paint is dusty and passing wind along the zanpakuto carries away particles of paint.
The sheath which carries the deadly blade of Haiirohane is a long oval, slightly curved to accommodate for the subtle upward bend of the blade. The bow of the blade is only a degree or two but it’s enough to require a curved container. Rough and dull is the thick coat of gray paint covering the sheath. It looks as though it was dipped into a vat of dull, gray paint as the coat has visible solidified drips and sags. At the two ends of the sheath, the tip and the point of blade entry, the paint grows thicker and wider. A good inch of sheath on both ends is noticeably higher than the rest. Clearly, some extra piece surrounds the sheath on either end and hides beneath the dull gray paint.
A hilt guard lies along one end of the sheath. It too is drenched in a dull paint and displays an uneven distribution. Shaped like a tear drop, one side of the guard is a round semi oval while the other side thins to a sharp point. The teardrop follows the orientation of the sheath with its pointed top and round bottom aiming in the same up and down direction as the peaks of the oval sheath. The direction of the curve and shape of the sheath along with the direction of the guard suggests that the zanpakuto is meant to be wielded with a falling tear drop. The guard, like the sheath, has no shine or gloss.
The forever frozen drip coat of dull gray paint which dominated the exterior of the sheath and guard continues beyond the guard. A cylindrical object protrudes from the center of the guard for about six inches before abruptly stopping. It has a round oval profile like that of the sheath but with a significantly smaller diameter of about two inches. The dull, uneven paint coat continues from the guard unbroken onto this piece making them seem like one continuous unit. The paint, however uneven, carries upon its surface the features it hides beneath. Clear slopes and valleys show a diamond criss-cross pattern hidden beneath along with some type of ornamentation or increase in girth at the butt of the piece. Knowing the basic outline of swords, one can tell that this is the hilt or handle of the sword.
The unsheathing of Haiirohane, even while sealed is quite the show. Retrieving the blade from within the sheath is difficult and requires a large amount of effort. This is due to the coat of paint which needs to be broken in order to separate blade from sheath. But rather than shatter along the perimeter, the paint stretches and thins as Grey pulls away at the hilt. The paint acts like a soft rubber and begins to tear at its thinnest points as the forces of tension upon it rise. The separations and gaps leave strands of paint which continue to elongate as Grey pulls. What is revealed through the newly formed openings in the elastic paint is that there is no visible blade. A final tug snaps the remaining strands which then flail about wildly as if having minds of their own. The symbiotic paint strands whirl and twirl to wrap around an invisible blade. The strands mold and melt to form a curved, single edged blade. The zanpakuto remains its appearance of having been dropped in gray paint.
Shikai
Activation Phrase: Fa-mujin Toppa, Haiirohane [Break through the farm dust, Grey Wing]
Appearance:
To release his shikai, Grey squeezes the hilt of Haiirohane with enough sudden force to crack the paint. The cracks spread from his hand or hands and radiate out along the blade. They run all along the hilt, guard and blade from tip to tip. White light bursts from beneath the paint in a small firecracker explosion at the handle. The paint chips fly off of the hilt and guard and disintegrate away as gray dust. Once the commotion subsides, the blade is left looking quite different to its sealed state.
The dull, gray coat of paint still covers the blade but it is ridden with shining cracks. A white light permeates through the cracks from beneath the coat of paint and provides the entire wakizashi with a faint white surrounding aura. The edge remains sharp however cracked it may be and the top side of the blade is still blunt.
At the guard, the dull gray smear is completely gone and instead the guard radiates a pearly bright white. As if made of a shimmering white metal, the guard has a metallic sheen along with porcelain like reflectivity. It gives off its own glow of light which is noticeably brighter than the aura surrounding the blade. The basic shape and form of the guard remains unchanged for the most part. It is still a falling tear drop when wielded correctly. The only difference from the sealed guard is the overall thickness. While the sealed zanpakuto had a thick coat of gray paint which brought the breadth of the guard to a quarter of an inch, the removal of that coat slimmed the piece tremendously to a very thin sixteenth of an inch. The edges of the tear drop also are sharpened for deadly defensive counters.
Like the guard, the hilt is completely devoid of any gray paint. It too shines with a radiance of its own that matches that of the guard and makes the aura of the blade seem dimmed. The handle is radically different from its sealed appearance. With the coat of paint removed, all of its intricate details and ornamentation get the spotlight. A pure silver cylinder connects the guard to the hilt. The hilt is crafted of an alloy, a mixture of silver along with some other white metal to produce a very light gray handle. Wrapped around this metal base are two sets of white strands. A Japanese wakizashi crafted in the traditional way, the strand sets weave above and below each other while changing direction each time to wrap tightly around the metal base. A diamond pattern is formed. Premeditated extrusions of the metal base fill in the empty diamond shaped areas to lock in the cloth and prevent it from moving out of place. This pattern of cloth weaving improves grip on the handle and prevents slippage. A silver metal piece caps off the end of the handle. On the butt of the hilt, engraved upon the surface of the cap is a full bodied, oriental dragon in flight between two highly stylized clouds. The dragon bears five claws emphasizing an imperial royalty. Its claws are sheathed symbolizing non violence and a desire to end fighting as opposed to starting it. A closed mouth and exposed fangs indicate to watch what comes out of the jaws of the dragon.
The sheath of Haiirohane also gets a makeover. The paint coat drips off to reveal the same shimmering white, metallic porcelain look carried by the guard. It is discovered that the two ends in fact hold ornaments, silver ornaments. The decorations are similar in that they are both flat renditions of dragon’s heads which bite into the sheath with fangs in order to fasten themselves on. The details of the dragon heads are carved and engraved into the silver. Although relatively flat in comparison to a more three dimensional dragon head sculpture, the adornments are so meticulously crafted that the human mind simply fills in the remaining area to add realism and possible volume. The differences in the pieces are obvious ones. Both heads look towards each other so they obviously face opposite directions. The dragon head at the point of blade entry has a hole stamped out in order to allow the blade into the sheath, while the opposite piece does not. As is with most embellishments upon Grey, the pieces are symbols with deep meanings. The biting of the dragon heads into the sheath implies a perseverance and persistence despite the circumstances to getting a job done. Even if it means using ones teeth to prevent losing grip of the task in front of one’s face. A second meaning hidden within the positioning of the heads is that a conflict is always between opposing sides connected by a common topic. Be the conflict internal or external, there are always at least two sides.
Abilities: -don't fit-
Bankai
Activation Phrase: Fa-mujin Ou Kara, Akado Haiiro [Grow through the farm dust, Light Gray]
Appearance: -doesn't fit-
Abilities: -doesn't fit-
Shinigami Techniques
Shunpo / Flash Step - A movement ability that allows the user to move faster than the eye can follow.
Hado
[1] Thrust - Pushes target away from the caster.
[4] White Lightning - Fires a concentrated bolt of from the caster's finger.
Bakudo
[1]Restrain - Locks a target's arms in place behind their back. Requires the user to be close to the target and with a clear sight to them. This technique is weak and someone of equal strength to the user could easily break out if given a little time.
Additional
Other Characters: none accepted
Role Play Sample:
“Tears?” Grey looked up into the sky as droplets of rain crashed down upon his brown skinned face. The water ran down across his cheeks and down his neck to be absorbed by his dry raiment. The rain soaked into the fibers of his clothing as Grey stood awestruck in the open courtyard covered in bluish white tiles. It was always quite odd when rain fell in Soul Society. The mood was always sad as if the droplets symbolized the Soul King’s unhappiness or pain, the Soul King being the ruler and leader of the entire collection of realms. Within which were the white deserts of Hueco Mundo, the oblivious mortal world and finally the home of wholes and shinigami, Soul Society. Overcast gray skies replaced the usually clear or scarcely clouded sunny scene of Soul Society’s overhead mural. Most of the newer souls at Soul Society were always amazed by the condensed droplets of reiatsu which fell as rain since this only happened in Soul Society every few centuries. The buildup of evaporated, free flowing reiatsu needed to make the clouds heavy with liquid energy took quite a while as the amounts accumulated rather sluggishly. Although sadness fell and spread around Soul Society like an immense blanket, the reiatsu rain held a revitalizing quality which balanced the sadness with the feeling of freshness upon contact with a soul, giving the deceased persons a glimpse into their mortal lives, when a shower in the rain felt, for some odd reason, so rejuvenating. Rain always brought out the souls from their dwellings just to relieve the sadness and bask in the reviving reiatsu. Grey was no exception to this as he too was brought out, almost mindlessly, to stand in the rain.
White tiles of ceramic or marble or some other bluish white stone were laid out in a perfect square grid beneath the Division Two Captain. In the openness of the almost empty courtyard, looking in either direction from anywhere in the courtyard would clearly reveal a horizon based vanishing point as the grid lines all seemed to converge upon one spot in a flat horizontal plane. Boundary setting walls erected around the courtyard lessened this feeling of endless distance with their vertically laid selves perpendicular to the flat grid underlay below. The upright walls held the same blue tinted white hue of the tiles till the small gabled roof cap upon the top came into view. A triangular piece resembling the Japanese style roofs and even utilizing the same roofing tiles capped off the top of the wall to give the area a Japanese touch much like all of Soul Society.
Nothing much else resided in the courtyard, mainly because of its location. A desolate scene when really thought about. One of the walls which encased this open courtyard seemed to be on steroids as it was nearly five stories high. In comparison to the six to seven feet high minor courtyard walls, this one was built on a ten to one scale. Even the triangular Kara-Hafu roof cap of the wall was exploded to monstrous proportions. Still though, the tile size remained the same as those upon the smaller wall. Only now, with so many necessary to cover the piece, it looked like an oceanic wave of roofing tiles which descended down to a shade producing gable. Within this wall was held a supersized double door. This was Sereitei’s southern gate. Unlike the western gate which lifted straight up and was made of metal latched wood planks, the southern gate was a similarly large size but rather than being one sliding face which lifted only with great strain, the southern gate slid apart with its two door swing configuration. This gateway was also exponentially better crafted than the menacing, barbarian, wood and metal western gate. Two dark, navy blue marble stones with white to light blue tinted lighting-like veins formed the two door gate. Each of these large marble rectangular prisms was held to the surrounding wall by two brilliant metal hinges resembling silver in their white, shiny radiance. Although in this overcast, sunless sky, they looked to be a bland, pale gray color.
Everything in Seireitei seemed to be covered in an invisible film of water as the rain enveloped it. Running down the walls and off the slopes of the Kara-Hafu roof caps, waterfalls of liquid reiatsu fell down upon the tiles only to pool up a few centimeters. Even though no drains or slope carried the water to a predisposed location for storage or containment, the water did not rise any higher than a few centimeters. When given a closer look, something amazing is seen. The rain was both evaporating and solidifying into vapor and layers of tile respectively. The extremely infrequent rainfall in Soul Society not only revitalized the souls occupying it but also the surrounding reiatsu environment by means of providing a rejuvenating effect upon the seemingly constant area’s elements. When the view is expanded back into a bird’s eye and scanned over the battle scared Sereitei, the blown out walls and blast ridden ruins come out and actually pop out in the rain as they glow slightly under this liquid reiatsu. Under the effects of the rain, the walls and ruins begin to absorb the reiatsu rain and grow back into their original states as if having minds of their own and memory of their previous forms.
This same clear film formed over the tan brown skin of Grey. The liquid coated his black curly hair giving it a gleam and shine which lent even more implication to his wetness. The liquid pooled within the half inch high labyrinth of nappy hair as larger globs and droplets only to come together and run down as streams along his face. The downward running water navigated its way down his forehead and through the smaller patches of hair over his eyes. Passing the brows, it curved around his small optical globes and round gorilla-like nose before meeting full lips and finally dropping off of his chin.
The droplets soaked deep into the thin fabric of a black cloth wrapped around Grey’s chest. The water followed the wrapping contours of the skin tight black bandages as it dampened the textile. In proper order, the water seeped into the next layer of black raiment over Grey’s torso. Converging at the waist, the fluid drenched a rigid black, sleeveless vest, which angled away from his center line leaving a “V” shaped void to expose the black bandages underneath. Although rigid, the usually perky arch tips at the shoulder of the outer layer of black vest frowned slightly downward while the typically taut dark bandages beneath grew fat and loosened.
The water continued outwards from Grey’s chest to meet another already drenched fabric. Over the black vest set, the Captain donned his gray, Gotei Thirteen Division Two haori, which, from the current weather of falling tears, was already drenched down to the last fiber. The open coat was a dull gray unlike the usually white captain coats seen in Sereitei and on the back but on the back side, Grey still displayed the black numbered diamond designating his squad.
Pulled by the hands of gravity, the reiatsu fluid flowed through the layers of cloth into the next piece of attire resting gently upon Grey’s hips. The rain droplets rolled like wheels over the rippled curves of the Captain’s loosely tied gray sash. While three inches wide when flat, the scrunched sash took a more compact, almost cylindrical shape as it wrapped itself around his hips before knotting back into itself and dangling down a foot or so in two separate strands over Grey’s right side. This wet sash made contact with a pair of black pants and like the previous happenings drew the water into it. Unlike the black, divided hakamas of the usual shinigami, Grey chose to walk around in a pair of baggy black, Kung Fu practice pants. Although less loose and flowing, the baggy kung fu pants allowed for maximum range of movement without the excess material that could possible get snagged or hamper passage through the air. As the falling rains of reiatsu and traveling fluid upon Grey converged on his pants, they moistened them and caused a clinging action along with the inevitable sag from sheer wet weight. Two strands of weaved black rope drooped over the Captain’s crouch. Tracing back up revealed their true origin. They extruded from two opposite holes on the front and very top of Grey’s pants. The top seemed to be folded over and sewn to encase this string which could be used to tighten the waist of the pants. This scrunched over sew was apparent elsewhere in the pants. The ankle ends had the same style of tightened embroidery except without the woven black rope hanging out. Instead, pre-stretched rubber strands seemed to have been woven into the stitching in order to provide a stretchy yet taut quality. Although the strands were not visible, no other form of needlework could possible provide the same properties without taking use of rubber string.
Clinging to his skin, black socks shot out from underneath the pants to completely cover Grey’s feet. The prominent space between the big toe and the rest of the toes would suggest tabi style socks but that was not the case at all. The soaked, brown hay strand of a raw hide Japanese sandal separated the toe from its brothers and rested in the crevice between. These sandals did not wrap behind Grey’s heels like the typically issued pairs worn by the shinigami. Instead, the one strand, which separated into two to wrap at the front of the foot was the only support for keeping the sandal sole to the Captain’s foot.
The wet figure of Grey stood straight in the downpour, completely alone and devoid of companions. He looked up at the crying skies with a nearly indiscernible face that only touched upon the emotions of sadness and loneliness. Although these were seen slightly at the surface and mostly dictated by the sagging eyes, the open, relaxed mouth gave a sense of relief. It appeared that even the emotion controlling Kibun-Teicho was susceptible to unexpected uprising of feelings thought to be under wraps.
A rare happening, but then again the sadness inducing yet revitalizing reiatsu rain was a rare happening as well. It was as if the two went hand in hand; the rare rain and the rare flares of wild feeling.
The rain soaked everything not under cover. Although, it didn’t seep into the zanpakutou held within Grey’s sash beneath his coat. On his left side, hung a two foot long wakizashi encased within its sheath.
Rain drops ran down the hilt and guard. As the droplets rolled over the glossy, gray painted sheath, they changed color and viscosity before finally dripping down from the case. A pool of gray paint was forming next to Grey. With each drip of transformed rain, the sword faded from the handle to the guard to the sheath as if being melted into the paint pool.
This mass of gray along the ground began to run along the tiles floor. An oddity since the ground was perfectly flat with no inclination to cause the paint to do so. The pool began to bubble as it moved around like a snake. Stopping abruptly, its bubbling became more rapid and expanded upwards and outwards. The bubbles sunk into a flowing mass of paint which rippled its way up and out. It grew in six singularly planar directions along with upwards. The rain appeared to be giving it more liquid to work with. The paint grew to immense proportions dwarfing the Captain easily at ten to twelve feet long. As if with a mind of its own, the gray mass began to round out and harden. Four main limbs became more and more apparent along with a serpent tail and long necked head. Still rippling like a liquid, the paint formed a vague image well known in the serpent realm and oriental mythology.
Solidification of the paint and metamorphosis from liquid to solid began to take place as the “body” came to final realization in its rippling, liquid vagueness. Starting at the outermost extremes, the phase change from liquid to solid crept in towards the center as if an invisible series of hot winds were drying off the fluid. Four major limbs on the sides of the paint figure identified themselves as arms and legs by the sets of shiny, light gray claws. Each set of five claws on each limb jut out from medium gray, soft skinned fingers. As the paint continued its rapid dehydration, the soft skin upon the powerful serpentine claw hands turned subtly into diamond hard, light gray scales. The scales stretched tightly upon the muscles of the forming beast and did not hide its physical strength. At another end, the paint dried not as a claw but as silver hairs. A slim bush of fine silver hairs formed the tip of the creature’s tail. The hairs extruded from a soft skinned tail tip which, like the clawed hands, subtly shifted from skin soft to scale hard. Although covering the entire top side of the beast in scales, the under belly remained a rippled, soft skin texture. Along the upper most points on the top side where the spine would be located, flowed locks of silver hairs like those on the tip of the tail. These were lined up perfectly in a row running down the spine of the serpentine beast. A reverse trace of the trail of silver hair led to its source as the platinum foliage culminated on the beast’s head. The hard scales transformed subtly back into the soft skin that tightly stretched across the face of this still forming oriental dragon. Large white eyeballs occupied the space seemingly designated as the sockets. The eyes were completely white like those of a blind man. An odd glow of white light along with flowing strands of semi-transparent white flame exhumed from the blind, white eyes like horizontal steam from a hot object in the cold environment of winter. Its long dragon snout snorted out small smoke puffs of bright white light as it breathed. As the wet gray paint continued to dry, its lips thinned and turned to curved cones. Glossy, light gray fangs occupied the hanging jaw of the dragon as it came to full realization.
“Hrr,” The dragon beast carried a subtle, constant growl in its voice. Grey reluctantly turned his head away from the heavens and looked upon the dragon. “The rain does you good too, Haiiro.”
The dragon’s arms and legs spanned out as if the dragon were performing a yawning stretch. “Yea,” its neck swirled around and twisted a bit producing a few bone scraping noises, “being cooped up in there for so long helps to. Besides, this is pure reiatsu.”
The Captain smirked slightly and turned back to stare upwards, “True…”
Haiiro flattened out and lay on the floor like a long, grayscale rope of flesh and bone. With its colors ranging from white to medium gray, the dragon would have been an artist’s eighth wonder.”Who you waiting on?” The dragon’s chin rested flat on the ground.
“No one in particular,” Grey turned his head to look at Haiiro sarcastically, “I can’t just enjoy a shower now?”
“The dragon let out a growled chuckle, “Don’t want me to know that bad huh…”
Grey turned back as if unaffected by the comment. He let out a sigh of loneliness as he looked to the clouds.
”If pond
need pond,
between them
through earth and green
shall stem
a silent stream.”