Points: 69/69
Suzuri Rinrin
Inkstone
[ [Only shackled to the road could ever I be free.]
General Information Age: 17
Gender: Female
Height: 1.76cm
Weight: 50kg
Hair: Black, straight, shoulder-level, often braided with feathers, shells and colorful pebbles
Eyes: Brown
Physical Features: Suzuri could be best described as “the quintessential bookworm”. She has a light built, with bony joints and thin limbs, feet which are made for stumbling rather than walking and hands with long, slender fingers. Only on a ship do her movements shed their usual gracelessness. While she may be a doll regarding looks, related to motion she seems a marionette. Simply put, Suzuri has the uncertain movements of someone who had grown too tall, too quick. But what people tend to remember most about her is her smile, a trademark grin that could split a razor sideways, radiating confidence from every fiber.
Clothing/Accessories: As a travelling painter who often survives by foraging and hunting, Suzuri finds comfortable, sturdy clothes to be of utmost importance. Even though they’ll never win a beauty contest, her dusty royal-blue kosode and darker hakama look stubborn enough to outlive her. Unlike their normal versions, they are cut at the elbows and knees, as their owner perceives most of the ‘normal’ temperature range as ‘too hot’. Over the obi, she wears a rope as her belt – more on that later. She wears frilled, light-wood-colored moccasins.
Personality: A dreamy girl seeking for her place in life, Suzuri is normally kind and easy-going. But under this plain exterior, she is someone that could break mountains with her willpower alone, as exemplified by her passion for painting. The harsh natural environment which she had grown up in had turned her into a self-reliant teenager, yet eager to help others in need. Crowded cities make her uncomfortable; Suzuri is most at peace in the middle of nature, as her paintings would reveal. In particular, she has a soft spot for the sea. Timid around strangers and too-aware of her weakness in combat, she nevertheless does her best to be a person of integrity, someone that others can rely on. As her weapons of choice would reveal (lasso, bolas), even when forced to fight she prefers to incapacitate with minimum harm. She enjoys books, especially fantasy books and encyclopedias, but is most knowledgeable in reading signs in nature – tracks, weather, water-sources.
Battle Information Village: The Paper Boat, a pirate ship roaming the seven seas. As it is not exactly a fact you’d want to share over dinner, Suzumi often says she is from Anchor, a small seaside town in the far south of the Sea Country.
Rank: D ranked (Tourist)
Stats: (0/50)
- Ninjutsu: 15
- Taijutsu: 10
- Genjutsu: 1
- Stamina: 9
- Control: 10
- Strength: 3
- Speed: 6
- Instinct: 13
Having devoted their lives to mastering the Elemental affinities, this travelling painter is classified as an Elemental Ninjutsu Specialist. Elemental specialist are able to devote a total of 10 concentrations to elemental concentrations, unlike most people who are capped at 8. The user is not able to access any specializations that are marked for Ninjutsu Specialist, but instead, can now pick up concentrations marked for Elemental Specialists. Additionally, their two additional concentrations MUST be used for elements. They cannot use them for ninpou styles. However, they are only able to devote a max of 5 concentrations to Taijutsu, and a max of 5 concentrations to Genjutsu.
As a Ninjutsu Specialist, Suzuri is able to utilize Ninjutsu concentrations reserved for specialists, but cannot utilize non-elemental ninjutsu specializations. Additionally they are able to enter the God Tier [45+] on select stats, and meaning as a specialist they can select stats to break into the God tier. These stats can only be [Ninjutsu or Instinct], [Speed or Strength], and 2 of [Control, Instinct, or Stamina].
Stats chosen: Ninjutsu, Speed, Control, Stamina
Equipment: Suzuri’s most prized possession is her oil painting kit, consisting of color tubes, brushes, special thick paper and solvents. Curiously, although this type of painting is usually time-consuming, the girl manages to dry out her oil colors simply by blowing over them, probably due to a hidden elemental affinity. The kit is usually kept in a separate pocket of her backpack, to prevent other items (eg. food) from tampering with it.
Items that could be considered weapons would be the girl’s foldable pocket-knife (right pocket), normally used for rasping paint, and the large, foldable wooden umbrella on her back. Both of them were painted with motifs of blue skies and white clouds.
From her hunting trips, she has become comfortable at using her bolas and rope lasso against wild animals, although not often people. The lasso is 28ft in length (8.5m). The main bolas is a three-weighted one, with two heavier, shorter chords (38 inches) and a chord that is lighter and longer (59 inches). (Wiki-quote: "The heavier weights fly at the front parallel to each other, hit either side of the legs, and the lighter weight goes around, wrapping up the legs.") It is usually tied over her backpack. She also carries a lightweight version in her pocket (22cm when exatended), for hunting birds.
In addition, Suzuri carries in her backpack a small roll of wire string (25m), five small bells and a pocket-sized pouch of tennenbishi. The latter are a type of seeds - essentially natural makibishi/caltrops.
New weapon
“A pair of 18cm diameter metal tessen (Japanese war fans) with sharp edges, connected by a thin 1.5m metal chain.”
Companions: (0/5)
Affinity:
Abilities and Concentrations
| Abilities | |
|---|---|
| First Ability | Companion Master This character specializes in the organization of others, and has committed part of their time in coordinating themselves with pets, spirits, or henchmen in combat. This gives the user of this ability four[4] companions, each companion is separate from the other and can be any type of companion. There is no limit to ranks for companions. |
| Second Ability | --------- |
| Third Ability | ------------- |
| Concentrations | |
|---|---|
| Ninjutsu | Suiton Affinity A character with this concentration is able to utilize Suiton, and can make and use any custom or archived jutsu that require the suiton affinity. Suiton has an enveloping effect. Advanced Channeling This user has superb chakra control, and has learned to perform jutsu by channeling, without the use of hand seals. The user can channel any ninjutsu that is designed to be channel, and there are no specified parameters in which a jutsu must fall to be channeled by this method. To get this concentration the user must be a Ninjutsu Specialist, and have picked Control as one of their specialized stats. Artist’s muse – Oil Paint Style Prerequisites: Suiton The ink style is a style utilized by artists. Most artists use ink, but there are some that use other materials, such as water paints, graphite, and so on. Unlike other styles, the Ink Style is very open. Artists tend to be unique, after all. Oil Paint is precisely such an extension. It is characterized by subtle, luminous tones. Oil Paint Jutsu require a set amount of oil paint, depending on the type used. Each jutsu says how much paint is used, going by the base of the expansion jutsu. This means that every time a jutsu is used, it has the expansion jutsu used already. Oil Paint jutsu have a Reusable effect. Reusable: Paint jutsu involve a real component. When oil paint creations are destroyed, the paint (but not the chakra) can be recovered for casting new jutsu at a 50% rate. For instance, one could recover from a typical C-rank creation jutsu enough paint for a D-rank jutsu – or for half a C-rank. Colors of reused paint cannot be changed (relevant for camouflage). The artist has to be in close proximity in order to re-use paint, unless specified. For Suzuri, the Oil Paint style automatically involves Advanced Channeling, with her paints as medium. Artist’s Muse creations can last a considerable distance, compared to other jutsu, since they have a real component. Each point in the Control stat adds an extra 1/25th of a mile to the possible range, with a maximum of 2 miles at 50 Control. Sensor Prerequisites: Ninjutsu Specialist, at least 10 in ninjutsu, instinct, control Sensors are shinobi who are able to activate a sixth sense which can locate and read chakra sources. Sensory is advantageous as it allows shinobi to perceive without using any of their conventional senses, which can easily be deceived. Sensors are able to collect a lot of information through the interpretation of this sixth sense. |
| Taijutsu | [Corded weapons] The fundamental skill of [Corded Weapons] indicates the user’s proficiency with long rope-like weapons such as chains and wire. This facilitates their use of related Taijutsu. [Projectile weapons] The fundamental skill of [Projectile Weapons] indicates the user’s proficiency with weapons designed to attack from afar, such as bows, shuriken, senbon, launchers and the like. This facilitates their use of related Taijutsu. [Upper body] The fundamental skill of the [Upper Body] indicates the user’s proficiency with using their arms, chest and head in various ways to facilitate their use of related Taijutsu. |
| Genjutsu | [Place them here] |
Jutsu
NinjutsuShow
Place Ninjutsu in here
TaijutsuShow
Capture Style:This is a style of weaponry skills favored by specialists preferring to capture rather than kill opponents, through the use of ranged, chord-based weapons. Examples include the lasso, bolas, and tripping pikoi. It has much in common with other ranged taijutsu styles, in particular the Flawless Aim Style, while adapting for the case of ranged weapons that never leave the user's hands (lasso). Users of this style focus on their eyes and hands, trying as best they can to achieve perfect synergy between their ability to analyze information and their ability to act on it.
Requires: [Corded weapons], [Projectile weapons], [Upper body]
D-RankShow
[Capture Style • Swirl]
D-Rank Taijutsu Discipline
When working with weapons that are simply not made for defense (or offense, for that mater), one learns to bring confusion to a state of art. By keeping the weapon in motion between attacks, and perhaps adding ‘unnecessary’ movements, the user can make it more difficult for the opponent to track it.
[Capture Style • Zero Point Shot]
D-Rank Taijutsu Discipline
The martial artist has trained to throw ropes at close range, even point blank, with the same accuracy as more distant targets. These attacks are made at full strength. This technique on its own primarily applies to shots made while standing still or kneeling in one place. It is enhanced, however, by other techniques in the Capture Style.
[Capture Style • Arcing Throw]
D-Rank Taijutsu Maneuver
The practitioner is able to throw their weapon in arcs up and over most obstacles, being able to accurately hit a target that is behind obstructions as if they were in the open. Granted, they must know of their target’s location or have another means of detecting them.
Capture Style • Catch and release
D-Rank Taijutsu Discipline
The user is able to alter the way their weapon wraps around a target, and the strength put into it, such that it becomes easier to recover said weapon. For example, this might include one wrapping a lasso around the opponent’s forearm like a whip, or using skillful flicks of the wrist to free an enemy from the lasso’s grasp.
Capture Style • Trap setting
D-Ranked Taijutsu Discipline
The user has become skilled at preparing traps. Trap conspicuousness tends to be inversely proportional with Instinct.
Ambidexterity
D-Ranked Discipline
After extensive practice and training the character has gained equal strength and skill between their two hands. This allows them to perform any action with either hand at exactly the same skill level and strength.
D-Rank Taijutsu Discipline
When working with weapons that are simply not made for defense (or offense, for that mater), one learns to bring confusion to a state of art. By keeping the weapon in motion between attacks, and perhaps adding ‘unnecessary’ movements, the user can make it more difficult for the opponent to track it.
[Capture Style • Zero Point Shot]
D-Rank Taijutsu Discipline
The martial artist has trained to throw ropes at close range, even point blank, with the same accuracy as more distant targets. These attacks are made at full strength. This technique on its own primarily applies to shots made while standing still or kneeling in one place. It is enhanced, however, by other techniques in the Capture Style.
[Capture Style • Arcing Throw]
D-Rank Taijutsu Maneuver
The practitioner is able to throw their weapon in arcs up and over most obstacles, being able to accurately hit a target that is behind obstructions as if they were in the open. Granted, they must know of their target’s location or have another means of detecting them.
Capture Style • Catch and release
D-Rank Taijutsu Discipline
The user is able to alter the way their weapon wraps around a target, and the strength put into it, such that it becomes easier to recover said weapon. For example, this might include one wrapping a lasso around the opponent’s forearm like a whip, or using skillful flicks of the wrist to free an enemy from the lasso’s grasp.
Capture Style • Trap setting
D-Ranked Taijutsu Discipline
The user has become skilled at preparing traps. Trap conspicuousness tends to be inversely proportional with Instinct.
Ambidexterity
D-Ranked Discipline
After extensive practice and training the character has gained equal strength and skill between their two hands. This allows them to perform any action with either hand at exactly the same skill level and strength.
C-RankShow
[Capture Style • Evasive Maneuvers]
C-Rank Taijutsu Discipline
The user has learned to maintain accuracy while on the move. This allows the user to move at full speed and even change directions without interrupting their rhythm.
[Capture Style • Ricochet Shot]
C-Rank Taijutsu Maneuver
By launching their throw at the proper angle the practitioner is capable of bouncing their projectile off solid surfaces without losing accuracy. Any surface they bounce off causes the projectile to lose ⅕ of its impact strength and soft or uneven surfaces are impossible to bounce off. Normally unusable for lasso.
[Capture Style • Twisting Path]
C-Rank Taijutsu Maneuver
By adding a spin to the weapon before it is thrown the user is able to give the it a warping motion as it flies through the air. With much practice, the user is able to predict the weapon’s shifting motion and aim accordingly. This can be used to hit a target that is hiding behind another person or object.
[Capture Style • Improvisation]
C-Rank Taijutsu Discipline
The practitioner knows their own reliance on throwing weapons thus emphasizes never being caught without. With the right technique they are fully capable of launching nearly anything, so long as it consists of reasonably usable cords (eg. pendants, notebooks with silk bookmarks attached etc), they could otherwise throw or shoot as if it were designed to do so in the first place. Unfortunately, this has an impact on the strength of the impact in the form of a -3 strength.
Capture Style • Escape artist
C-Ranked Taijutsu Discipline
A seasoned user of rope-based weapons and an aficionado of knot types, the user often finds themselves at an advantage when having to escape being bound by similar items. Depending on the exact context (light level, guards, time etc), the user may be able to, for example, struggle free of full-body constraints, or shift the ties around they wrist such that they look secure, but aren’t. This technique does not apply on its own to chakra-infused constraints.
Capture Style • Rope weaving
C-Ranked Taijutsu Discipline
Having dwelled considerably on the art of making ropes, these artisans are able to alter these items on the spur of the moment, re-weaving or knotting them to change their length/strength ratio, gravity center (therefore making a lasso more unpredictable, but also harder to control) etc. More complex changes and/or larger items, such as ladders and nets, require correspondingly more time to craft. The user is limited by the amount of rope they have at hand.
C-Rank Taijutsu Discipline
The user has learned to maintain accuracy while on the move. This allows the user to move at full speed and even change directions without interrupting their rhythm.
[Capture Style • Ricochet Shot]
C-Rank Taijutsu Maneuver
By launching their throw at the proper angle the practitioner is capable of bouncing their projectile off solid surfaces without losing accuracy. Any surface they bounce off causes the projectile to lose ⅕ of its impact strength and soft or uneven surfaces are impossible to bounce off. Normally unusable for lasso.
[Capture Style • Twisting Path]
C-Rank Taijutsu Maneuver
By adding a spin to the weapon before it is thrown the user is able to give the it a warping motion as it flies through the air. With much practice, the user is able to predict the weapon’s shifting motion and aim accordingly. This can be used to hit a target that is hiding behind another person or object.
[Capture Style • Improvisation]
C-Rank Taijutsu Discipline
The practitioner knows their own reliance on throwing weapons thus emphasizes never being caught without. With the right technique they are fully capable of launching nearly anything, so long as it consists of reasonably usable cords (eg. pendants, notebooks with silk bookmarks attached etc), they could otherwise throw or shoot as if it were designed to do so in the first place. Unfortunately, this has an impact on the strength of the impact in the form of a -3 strength.
Capture Style • Escape artist
C-Ranked Taijutsu Discipline
A seasoned user of rope-based weapons and an aficionado of knot types, the user often finds themselves at an advantage when having to escape being bound by similar items. Depending on the exact context (light level, guards, time etc), the user may be able to, for example, struggle free of full-body constraints, or shift the ties around they wrist such that they look secure, but aren’t. This technique does not apply on its own to chakra-infused constraints.
Capture Style • Rope weaving
C-Ranked Taijutsu Discipline
Having dwelled considerably on the art of making ropes, these artisans are able to alter these items on the spur of the moment, re-weaving or knotting them to change their length/strength ratio, gravity center (therefore making a lasso more unpredictable, but also harder to control) etc. More complex changes and/or larger items, such as ladders and nets, require correspondingly more time to craft. The user is limited by the amount of rope they have at hand.
GenjutsuShow
Place Genjutsu in here
History
Historical AccountsShow
She was born among the lullaby of the waves and the drunken rattle of bottles, with the soft blanket of the Northern Lights covering her. The Paper Ship, swinging on the seas, was her home for the next few years. Her mother was the captain: good-humored, tough, fair. Her father was the silent Windmaster with his eyes stuck to the stars. They earned their living from ‘guarding naval travels’ and ‘providing alternative routes for the transportation of high-value goods’ – or, as the less bureaucratic would put it, piracy. Natsu Rinrin, or Capt’n Bell as she was known for the ring of her name, liked to regard her crew as professionals. They didn’t kill upon surrender, and kept unnecessary damage to a minimum. The sea was her reign; it just wouldn’t do to scare the ‘cattle’ away.
It was a strange, but oddly charming place to grow up in. Little Suzuri learned to climb the ratlines before she could walk. She pitter-patted energetically from bow to stern, eliciting wide grins with her statements of ‘There be good weather tomorrow, I feel it in me bones!’. She loved the ocean and the sky, was bewitched by their shifting sounds and colors and scents. Perhaps to try and keep those fleeting moments, she learned to paint, taught by a learned hostage from the Fire Country. It was the same man that, two years later, would hold a paint-cleaning knife against her throat, forcing her captain to give herself up. The outcome was narrowly avoided by a lightning-fast series of events involving biting, a sizzling frying pan and indoor storms. However, this also meant that Suzuri had to leave.
After weeks of travelling across unfamiliar, solid land, of playing pretend with her guard that they were farmers or merchants, a ten-year old Suzuri understood that they weren’t on holiday. The Paper Boat had left without her. Her parents had left her there, because she was a bother to them. Tears trickled down her cheeks for days. She pained like a glass bell that held inside it nothing but sobs. But there is sadness which festers, and sadness which heals. Suzuri’s sadness was of the latter kind.
In the middle of nowhere, they reached the cold, seaside town of Anchor. Left in the care of two affectionate grandparents, the girl eventually regained her cheerful self and learned to love the scented silence of a pine forest and the burning colors of the flowers almost as much as she loved the sea. She learned how to set traps and write, and would often go exploring from breakfast to dinner.
Anchor was a strange, magical place. For much of the year it would be covered in snow and stars, but in the summer the sun would not set for days, allowing vegetables to swell to fairytale proportions. The land was wild; the water, pristine. In this world, belief in the spirits of nature did not seem out of place. Her grandparents were what others may call ‘summoners’, but they had a rather different approach from the one of most ninjas. They used no contracts; just trust. For them, spirit-animals were not tools to be used, they were entities to respect and communicate with. While some were foolish, nasty, cruel, others could be wise, caring, friends; just like people. It was a tradition of the clan for one starting on this path to find, through meditation in a special circle, a guardian to help them along. Suzuri tried. What she got was a flapping of wings, a sense of endless freedom, and a name: Kree. But at least for now, her skill was insufficient to maintain the connection.
Years passed, one after another. The girl learned the basics of how to twist space-time with words, or, as others would put it, fuuinjutsu. Even though she had started to understand them, she still missed her parents. Eventually, inevitably, she grew restless. The forests and shores that she knew like the back of her hand would not sate the thirst in her heart. She adventured further and further away, until, one day, after long discussions with her grandparents, Suzuri Rinrin resolved to go on a journey…
It was a strange, but oddly charming place to grow up in. Little Suzuri learned to climb the ratlines before she could walk. She pitter-patted energetically from bow to stern, eliciting wide grins with her statements of ‘There be good weather tomorrow, I feel it in me bones!’. She loved the ocean and the sky, was bewitched by their shifting sounds and colors and scents. Perhaps to try and keep those fleeting moments, she learned to paint, taught by a learned hostage from the Fire Country. It was the same man that, two years later, would hold a paint-cleaning knife against her throat, forcing her captain to give herself up. The outcome was narrowly avoided by a lightning-fast series of events involving biting, a sizzling frying pan and indoor storms. However, this also meant that Suzuri had to leave.
After weeks of travelling across unfamiliar, solid land, of playing pretend with her guard that they were farmers or merchants, a ten-year old Suzuri understood that they weren’t on holiday. The Paper Boat had left without her. Her parents had left her there, because she was a bother to them. Tears trickled down her cheeks for days. She pained like a glass bell that held inside it nothing but sobs. But there is sadness which festers, and sadness which heals. Suzuri’s sadness was of the latter kind.
In the middle of nowhere, they reached the cold, seaside town of Anchor. Left in the care of two affectionate grandparents, the girl eventually regained her cheerful self and learned to love the scented silence of a pine forest and the burning colors of the flowers almost as much as she loved the sea. She learned how to set traps and write, and would often go exploring from breakfast to dinner.
Anchor was a strange, magical place. For much of the year it would be covered in snow and stars, but in the summer the sun would not set for days, allowing vegetables to swell to fairytale proportions. The land was wild; the water, pristine. In this world, belief in the spirits of nature did not seem out of place. Her grandparents were what others may call ‘summoners’, but they had a rather different approach from the one of most ninjas. They used no contracts; just trust. For them, spirit-animals were not tools to be used, they were entities to respect and communicate with. While some were foolish, nasty, cruel, others could be wise, caring, friends; just like people. It was a tradition of the clan for one starting on this path to find, through meditation in a special circle, a guardian to help them along. Suzuri tried. What she got was a flapping of wings, a sense of endless freedom, and a name: Kree. But at least for now, her skill was insufficient to maintain the connection.
Years passed, one after another. The girl learned the basics of how to twist space-time with words, or, as others would put it, fuuinjutsu. Even though she had started to understand them, she still missed her parents. Eventually, inevitably, she grew restless. The forests and shores that she knew like the back of her hand would not sate the thirst in her heart. She adventured further and further away, until, one day, after long discussions with her grandparents, Suzuri Rinrin resolved to go on a journey…
