Reliquary (舎利殿, Shariden) is an inherited technique passed down within the Saionji Clan (西園寺家, Saionji-ke) that grants the user access to an isolated subspace created through the manipulation and distortion of space. The subspace exists alongside normal space and can only be entered or exited by those who possess the technique, with all members of the Saionji Clan who inherit the technique sharing the same subspace.

Befitting its namesake, the subspace was created by the founder of the Saionji Clan for the sole purpose of housing the remains of the clan’s dead. Acting as the clan’s ancestral graveyard, the subspace manifests as an infinitely expanding space made up of numerous floating “islands” that host various shrines, mausoleums, and pagodas containing the remains of deceased clan members alongside family heirlooms.

The remains preserved within the subspace are crucial to its continued existence as, due to its infinitely expanding nature, the subspace requires a constant supply of cursed energy to sustain itself. As a result, the remains of the clan’s dead are transformed into cursed objects through a process known as Kodoku prior to being housed within the subspace, allowing them to continuously supply cursed energy to sustain the subspace for future generations.

By making physical contact and imbuing a target with their cursed energy, the user is able to forcibly bring both themselves and the target into the subspace. Upon exiting the subspace, both the user and anyone brought into it will return to the location from which they originally entered. Due to only those who possess the technique being capable of entering or exiting the subspace, targets brought into it can easily become trapped within the subspace itself, while the user is able to avoid attacks by retreating into it.

The technique is primarily used to create an advantageous environment for the user, granting an effect similar to an environmental buff without the use of a Domain Expansion. The user is capable of freely manipulating the composition of the subspace, allowing them to restructure the floating “islands” and structures contained within it at will. As a result, the user can create a wide variety of offensive and defensive constructs, such as compressed pillars of earth capable of impaling targets or massive walls made up of numerous buildings that can be used to block incoming attacks.

Due to the technique manipulating and distorting space, it is generally considered difficult to use and requires precise manipulation of the user’s cursed energy to function effectively. As a result, even with the subspace largely being sustained by the deceased members of the Saionji Clan, the user can still tire out quickly if they repeatedly use the technique in quick succession. Should the user completely exhaust their cursed energy reserves, both the user and anyone brought into the subspace will be forcibly expelled from it.

Targets are likewise capable of resisting being forcibly brought into the subspace if they output a sufficient amount of cursed energy. Techniques capable of manipulating or interfering with space can also disrupt the user’s connection to the subspace, potentially preventing them from accessing it entirely. Like any other cursed technique, Reliquary can be bypassed and rendered useless if the user is trapped within a Domain Expansion, as the independent space and artificial environment created by the domain’s barrier prevent the user from accessing the subspace.

Trivia

• The technique’s name, “Reliquary” (舎利殿, Shariden), is derived from the Japanese term for a structure used to house sacred Buddhist relics, such as the remains of the dead. The name likely references the subspace’s role as the ancestral graveyard of the Saionji Clan, where the remains of deceased clan members are preserved within various shrines, mausoleums, and pagodas scattered throughout the subspace.

• The name of the process used to transform the remains of deceased clan members into cursed objects, “Kodoku” (蠱毒, Kodoku), is derived from “Gu” (蠱, Gu), a form of ancient Chinese witchcraft involving poisonous creatures being sealed within a container and forced to kill one another until only a single creature remained. The surviving creature and its fluids were believed to possess powerful supernatural properties and were subsequently used to inflict curses upon others or bring wealth and prosperity to the individual who performed the ritual.

Reliquary (舎利殿, Shariden) is an inherited technique passed down within the Uzuka Clan that grants the user access to an isolated subspace created through the manipulation and distortion of space. The subspace exists alongside normal space and can only be entered or exited by those who possess the technique, with all members of the Uzuka Clan who inherit the technique sharing the same subspace.

Befitting its namesake, the subspace was created by the founder of the Uzuka Clan for the sole purpose of housing the remains of the clan’s dead. Acting as the clan’s ancestral graveyard, the subspace manifests as an infinitely expanding space comprised of numerous floating “islands” that host various shrines, mausoleums, and pagodas containing the remains of deceased clan members alongside family heirlooms.

The remains preserved within the subspace are crucial to its continued existence as, due to its infinitely expanding nature, the subspace requires a constant supply of cursed energy to sustain itself. As a result, the remains of the clan’s dead are transformed into cursed objects through a process known as Kodoku prior to being housed within the subspace, allowing them to continuously supply cursed energy to sustain the subspace for future generations.

By making physical contact and imbuing a target with their cursed energy, the user is able to forcibly bring both themselves and the target into the subspace. Upon exiting the subspace, both the user and anyone brought into it will return to the location from which they originally entered. Due to only those who possess the technique being capable of entering or exiting the subspace, targets brought into it can easily become trapped within the subspace itself, while the user is able to avoid attacks by quickly retreating into it.

The technique is primarily used to create an advantageous environment for the user, granting an effect similar to an environmental buff without the use of a Domain Expansion. The user is capable of freely manipulating the composition of the subspace, allowing them to restructure the floating “islands” and structures contained within it at will. As a result, the user can create a wide variety of offensive and defensive constructs, such as compressed pillars of earth capable of impaling targets or massive walls comprised of numerous buildings that can be used to block incoming attacks.

Due to the technique manipulating and distorting space, it is generally considered difficult to use and requires precise manipulation of the user’s cursed energy to function effectively. As a result, even with the subspace largely being sustained by the deceased members of the Uzuka Clan, the user can still tire out quickly if they repeatedly use the technique in quick succession. Should the user completely exhaust their cursed energy reserves, both the user and anyone brought into the subspace will be forcibly expelled from it.

Likewise, targets are capable of resisting being forcibly brought into the subspace if they output a sufficient amount of cursed energy. Techniques capable of manipulating or interfering with space can also disrupt the user’s connection to the subspace, potentially preventing them from accessing it entirely. Like any other cursed technique, Reliquary can be bypassed and rendered useless if the user is trapped within a Domain Expansion, as the independent space and artificial environment created by the domain’s barrier prevent the user from accessing the subspace.

Trivia

• The technique’s name, “Reliquary” (舎利殿, Shariden), is derived from the Japanese term for a structure used to house sacred Buddhist relics, such as the remains of the dead. The name likely references the subspace’s role as the ancestral graveyard of the Uzuka Clan, where the remains of deceased clan members are preserved within various shrines, mausoleums, and pagodas scattered throughout the subspace.

• The name of the process used to transform the remains of deceased clan members into cursed objects, “Kodoku” (蠱毒, Kodoku), is derived from “Gu” (蠱, Gu), a form of ancient Chinese witchcraft involving poisonous creatures being sealed within a container and forced to kill one another until only a single creature remained. The surviving creature and its fluids were believed to possess powerful cursed properties and were subsequently used to inflict curses upon others or bring wealth and prosperity to the individual who performed the ritual.

String Performance (弾奏呪法, Dansō Juhō) is an innate technique that enables the user to manipulate inanimate objects through a stringed instrument imbued with their cursed energy, most often a shamisen. By playing the instrument, the user is able to apply cursed energy to nearby objects within the technique’s effective range, allowing them to freely manipulate the objects at will.

The technique is primarily used to manipulate objects within the user’s immediate vicinity, ranging from handheld tools and weapons to nearby structures and even entire buildings, allowing the user to overwhelm targets with multiple objects or reshape the environment to better suit their needs. Objects manipulated by the technique are controlled through the user’s playing, with their movements changing depending on the sound produced by the instrument itself. For example, the rhythm of the user’s playing manipulates the direction and movement of the objects, the tempo controls the speed at which the objects move, while the pitch dictates the size and scale of the objects being manipulated.

The number and fluidity with which objects are manipulated change depending on the cursed energy output of the technique as well as the user’s concentration, with greater output and focus allowing objects to be manipulated more fluidly and on a larger scale. At maximum output, the technique has been shown to be capable of manipulating entire buildings and the objects contained within them simultaneously, albeit with significantly reduced fluidity.

Despite its versatility, the effectiveness of the technique decreases as the number and range at which objects are manipulated increase, making multiple or larger objects more difficult to manipulate fluidly. Additionally, due to objects being manipulated through the sounds produced by the user’s instrument, the technique often requires the user to remain in place while playing, leaving them vulnerable.

Extension Technique

Plectrum (撥, Bachi) is an extension technique derived from String Performance in which the user destroys objects imbued with their cursed energy, rather than manipulating them. By plucking the strings of their instrument, the user is able to crush targeted objects within the technique’s effective range, causing them to break apart and collapse.

The technique is capable of destroying all kinds of objects regardless of their size, such as handheld tools, weapons, and even entire buildings, allowing the user to destroy large portions of the surrounding environment with ease. As a result, the amount of cursed energy expended during the technique’s activation increases depending on both the size and number of objects being destroyed.

The debris left behind by objects destroyed through the technique can subsequently be manipulated using String Performance, enabling the user to generate additional objects and increase the amount of material available to them. However, objects cannot be destroyed and manipulated simultaneously, forcing the user to choose between the two.

Trivia

• The technique is most often used alongside a shamisen (三味線, Shamisen), a traditional Japanese three-stringed instrument typically played using a large plectrum (撥, Bachi). Shamisen are commonly associated with a wide variety of traditional Japanese performance arts and musical styles, such as kabuki, bunraku, kouta, and min’yō, with the instrument being particularly known for its sharp and percussive sound produced through striking the strings and body of the instrument simultaneously while playing.

• The extension technique’s name, “Plectrum” (撥, Bachi), is derived from the Japanese term for the plectrum traditionally used to play string instruments such as the shamisen. The kanji can also translate to mean “reject,” “exclude,” “repel,” or “eliminate,” likely referencing the destructive nature of the technique itself. Additionally, the technique’s reading is a homophone of the kanji for “Punishment” (罰, Bachi), a Japanese term that can also translate to mean “divine retribution” or “karmic consequence.”

String Performance (弾奏呪法, Dansō Juhō) is an innate technique that enables the user to manipulate inanimate objects through a stringed instrument imbued with their cursed energy, most often a shamisen. By playing the instrument, the user is able to apply cursed energy to nearby objects within the technique’s effective range, allowing them to freely manipulate the objects at will.

The technique is primarily used to manipulate objects within the user’s immediate vicinity, ranging from handheld tools and weapons to nearby structures and even entire buildings, allowing the user to overwhelm targets with multiple objects or reshape the environment to better suit their needs. Objects manipulated by the technique are controlled through the user’s playing, with their movements changing depending on the sound produced by the instrument itself. For example, the rhythm of the user’s playing manipulates the direction and movement of the objects, the tempo controls the speed at which the objects move, while the pitch dictates the size and scale of the objects being manipulated.

The number and fluidity with which objects are manipulated change depending on the cursed energy output of the technique as well as the user’s concentration, with greater output and focus allowing objects to be manipulated more fluidly and on a larger scale. At maximum output, the technique has been shown to be capable of manipulating entire buildings and the objects contained within them simultaneously, albeit with significantly reduced fluidity.

Despite its versatility, the effectiveness of the technique decreases as the number and range at which objects are manipulated increase, making multiple or larger objects more difficult to manipulate fluidly. Additionally, due to objects being manipulated through the sounds produced by the user’s instrument, the technique often requires the user to remain in place while playing, leaving them vulnerable.

Extension Technique

Plectrum (撥, Bachi) is an extension technique derived from String Performance in which the user destroys objects imbued with their cursed energy, rather than manipulating them. By plucking the strings of their instrument, the user is able to crush targeted objects within the technique’s effective range, causing them to break apart and collapse.

The technique is capable of destroying all kinds of objects regardless of their size, such as handheld tools, weapons, and even entire buildings, allowing the user to destroy large portions of the surrounding environment with ease. As a result, the amount of cursed energy expended during the technique’s activation increases depending on both the size and number of objects being destroyed.

The debris left behind by objects destroyed through the technique can subsequently be manipulated using String Performance, enabling the user to generate additional objects and increase the amount of material available to them. However, objects cannot be destroyed and manipulated simultaneously, forcing the user to choose between the two.

Trivia

• The technique is most often used alongside a shamisen (三味線, Shamisen), a traditional Japanese three-stringed instrument typically played using a large plectrum (撥, Bachi). Shamisen are commonly associated with a wide variety of traditional Japanese performance arts and musical styles, such as kabuki, bunraku, kouta, and min’yō, with the instrument being particularly known for its sharp and percussive sound produced through striking the strings and body of the instrument simultaneously while playing.

• The extension technique’s name, “Plectrum” (撥, Bachi), is derived from the Japanese term for the plectrum traditionally used to play string instruments such as the shamisen. The kanji can also translate to mean “reject,” “exclude,” “repel,” or “eliminate,” likely referencing the destructive nature of the technique itself. Additionally, the technique’s reading is a homophone of the kanji for “Punishment” (罰, Bachi), a Japanese term that can also translate to mean “divine retribution” or “karmic consequence.”

Fate (御縁, Goen) is an innate technique that enables the user to manifest coins from their cursed energy, which typically emerge from between their thumb and forefinger following the technique’s activation. The coins produced by the technique can be telekinetically manipulated by the user, allowing them to freely control the coins’ movement around themselves, other individuals, or nearby objects at will.

The technique is primarily used to establish a connection between targets through cursed energy, with the manifested coins moving around and surrounding those affected by the technique. Targets are linked by the coins through a form of soul resonance and will subsequently experience the same phenomena as one another simultaneously. For example, if one linked target were to be damaged by cursed energy or healed through reverse cursed technique, the same effect would likewise be inflicted upon the others.

The strength of the connection established between linked targets varies depending on the number of coins surrounding them, with additional coins significantly increasing both the effectiveness and cursed energy output of the technique. As the resonance between linked targets strengthens, they will begin to intuitively perceive one another’s location, emotions, and thoughts, allowing them to more easily anticipate each other’s movements and actions through the connection formed by the technique.

Due to the technique’s relatively low cursed energy output, it is preceded by only a faint “spark” of cursed energy prior to its activation, allowing the coins to easily go unnoticed in small numbers or when concealed by larger amounts of cursed energy. However, the low output of the technique also makes the coins relatively fragile and easy to destroy if detected. Increasing the number of coins produced by the technique likewise increases their cursed energy output, causing the coins to become more noticeable as the strength of the technique increases.

Trivia

• The coins produced by the technique resemble typical Japanese 5-yen coins and depict a rice plant growing out of water, a gear, and “five yen” (五円, Go-en) on the front, while the back depicts “Japan” (日本国, Nipponkoku) and the year of issue, “1993” (平成五年, Heisei Go-nen), separated by tree sprouts.

• The technique’s name, “Fate” (御縁, Goen), is likely a reference to the Japanese word for “five yen” (五円, Go-en), the two being homophones, with “en” (縁) referring to causal connections or relationships and “go” (御) functioning as a respectful prefix. Due to being homophones, five-yen coins are traditionally associated with good fortune and “meaningful connections” (縁, en) within Japanese culture, resulting in them commonly being offered at Shinto shrines in the hope of establishing a favorable connection with the residing deity. Five-yen coins are also traditionally gifted during the Japanese New Year as symbols of good fortune, often being given to children in decorated envelopes called “Otoshidama” (年玉), with the total amount of money included depending on age.

Yuta and Rika (「ゆうた」と「リカ」, Yūta to Rika) is a cursed tool constructed from the remains of Yuta Okkotsu that takes the form of a pair of Japanese katana. “Yuta” appears as a standard katana, featuring a rectangular hand guard with indented corners and a traditional black grip wrapped in a diamond-shaped pattern. In contrast, “Rika” is far more crude in appearance, possessing a white, skull-like head with matching fur in place of a typical hand guard, along with a tattered grip.

Due to being constructed from Yuta Okkotsu’s remains, the cursed tool is imbued with the aforementioned sorcerer’s Copy (模倣, Kopī) cursed technique, as well as their boundless cursed energy. As a result, the wielder is able to copy the innate techniques of others once “Rika” has severed and consumed part of the original user’s body, with the body part being fed through the skull-like hand guard built into the katana itself.

After consumption, the copied technique is stored within “Rika” and can subsequently be imbued into “Yuta”, allowing the wielder to access it at will. Once accessed, the wielder is able to fully utilise the technique’s capabilities, including any of its extension techniques. Techniques imbued into “Yuta” can be switched out at any given moment, allowing the wielder to utilise multiple techniques simultaneously, with their effects remaining active even after being replaced.

Depending on the strength of the innate technique and the number of times the wielder wishes to use it, the required amount and type of body part changes. As a result, a strong or complex technique requires a more vital part of the original user’s body to be severed and consumed by “Rika” in order to be copied. Nevertheless, a body part only allows for a select number of uses of the copied technique before it eventually disappears. When copying a technique from an individual that can use reverse cursed technique, if the consumed body part is regenerated, the part will lose its value and cease to satisfy the condition required to copy the technique, preventing the wielder from using it.

Regardless of whether the wielder is still holding “Rika”, copied techniques imbued into “Yuta” can only be utilised through the katana itself, meaning the wielder will lose access to the technique if they let go of it. Additionally, the effectiveness of copied techniques relies on the cursed tool’s output and can therefore be weaker or stronger depending on the original user.

Trivia

• Yuta and Rika is regarded as a sacred treasure within the Gojo Clan and is enshrined within the family’s hidden vault. Upon the appointment of a new clan head, the cursed tool is inherited by them to use as they please, though in the modern day it is rarely used outside of ceremonial duties.

• The cursed tool is considered highly valuable, with many believing it to be worth upwards of 850 million yen if sold on the black market.

• On occasion, a faint, woman-like voice has been heard emanating from the cursed tool; whether these rumours hold any weight remains unknown.

Narukami (鳴神, Narukami) is a cursed tool resembling a large broadsword, featuring a distinct, rectangular beam in place of a traditional blade and a mechanical hilt. The hand guard takes the form of a segmented base that widens near the beam and tapers toward the hilt, with interlocking plates extending down one side to partially cover the wielder’s hand and forearm. In contrast to the complex guard, the grip is relatively simple, appearing as a curved black handle connected directly to the plates. When transformed, the rectangular beam separates into two parallel beams, forming an energy channel between them.

Narukami is recognised as a special grade cursed tool and is imbued with a unique cursed technique that enables it to store the heat it naturally generates during use and release it at will. The heat is accumulated through the tool’s repetitive movements, with the thermal energy produced during these actions being absorbed and stored within the hilt. Once a sufficient amount of heat has been gathered, the user is able to transform Narukami into its second form and discharge the heat as a concentrated blast akin to a lightning bolt. The strength of the blast depends on how much heat has been built up, and it can take several forms depending on the user's desires. For example, the heat can be fired as a full-power blast capable of destroying a large building, or as a volley of rapid-fire blasts that track the user's target.

Despite its potency, Narukami is not without its drawbacks. Most notably, Narukami has a limit to the amount of heat it can store, forcing the user to discharge it when necessary or risk the weapon overheating and becoming temporarily unusable. Additionally, while in its transformed state, Narukami is unable to accumulate heat and can only discharge it, requiring the user to revert it to its original form if they wish to continue building heat.

Trivia

• The cursed tool’s name, “Narukami” (鳴神, Narukami), is an archaic Japanese term meaning “thunder” or “roaring god,” containing the kanji for “to sound,” “to ring,” “to roar” (鳴, Naru) and “god,” “deity,” “spirit” (神, Kami), respectively. The term has historically been used to refer to thunder or deities associated with it, such as Raijin, and appears in classical literature, including works like The Tale of Genji, where it is used poetically to evoke the sound of thunder.

• Narukami is generally considered unusual even among cursed tools in that it appears to have been deliberately constructed rather than being a simple weapon imbued with cursed energy over time, with some theorising it was created using methods similar to those used in the production of cursed corpses, such as Kokichi Muta’s mechanical puppets; whether this is truly the case has yet to be determined.

Kokotsu (枯骨, Kokotsu) is a cursed tool resembling a curved Japanese broadsword, possessing black fur in place of a traditional hand guard and a tattered grip, giving the tool a somewhat shaggy appearance. Most notably, Kokotsu lacks a pommel, instead featuring a fleshy mouth lined with two sets of human-like teeth. Unlike most swords, Kokotsu does not possess a scabbard, with the blade typically wrapped in white cloth when carried at the wielder’s side.

Despite its crude appearance, Kokotsu is recognised as a special grade cursed tool and is imbued with a unique cursed technique that grants it a potent “Healing Inhibition” (治癒阻害, Chiyu Sogai) effect. Upon activation, Kokotsu emits a loud “cry” (泣く, naku) from the human-like mouth embedded at the base of its hilt that suppresses the regenerative capabilities of anyone who hears it. For sorcerers, this effect prevents the use of reverse cursed technique to restore flesh, while cursed spirits become unable to manipulate cursed energy to heal their injuries. Likewise, those physically gifted with a heavenly restriction have their ability to naturally heal suppressed.

Although potent, the healing-inhibiting effect is only temporary, dissipating shortly after activation and rendering Kokotsu unable to release another “cry” for approximately 10–20 seconds, though this interval can shorten as the wielder becomes more adept at using the tool. Additionally, targets capable of directing cursed energy to the area of the brain responsible for auditory function can completely ignore Kokotsu’s “cry”, preventing the healing inhibition from taking effect.

Trivia

• The cursed tool’s name, “Kokotsu” (枯骨, Kokotsu), is a Japanese term referring to a person’s weathered bones after their corpse has decayed, containing the kanji for “wither”, “die”, “dry up” (枯, Ko) and “skeleton”, “bones”, “remains” (骨, Kotsu), respectively.

• Kokotsu has been noted to bear an eerie resemblance to the Split Soul Katana, with some theorising the cursed tool to be a failed attempt at replicating the Split Soul Katana’s ability to ignore all physical toughness and strike at the soul directly; whether these theories hold any weight has yet to be determined.

• On occasion, the human-like mouth embedded at the base of Kokotsu’s hilt has been observed smiling, much to the disgust of onlookers.

████ and Wind (「 ████ 」と「風」, ████ to Kaze) is an innate technique originating from the planet Simuria that allows the user to generate and manipulate wind. Combined with the tangible killing intent inherited by members of the Deskunte Tribe, the wind produced by the technique is inherently poisonous and lethal to anyone who breathes it.

████

████ is a concept passed down through the Deskunte Tribe that is impossible for Earthlings to pronounce, let alone understand. Described as “murderous intent given tangible form” (質量なもった殺意, Shitsuryō namotta Satsui), ████ manifests as a Deskunte’s horns. As they grow, a Deskunte’s cursed energy (killing intent) gradually materialises as their horns, taking on mass and becoming a physical expression of their bloodlust. Alongside a Deskunte’s innate technique, ████ empowers it with murderous intent, transforming it into a technique perfectly suited for killing.

Wind

Wind (風, Kaze) is an innate technique that allows the user to generate and manipulate wind of varying sizes, typically from their hands or feet. The user is able to freely control the shape, direction, and strength of the wind they produce, allowing them to create high-speed whirlwinds, shifting air currents, or concentrated streams at will.

The wind generated by the technique can be used in a variety of ways, though it is most commonly used to overwhelm targets with powerful gusts capable of blowing away everything within the user’s immediate vicinity. By compressing air currents, the user can form sharp ‘blades’ of wind that cut through targets and objects with relative ease, or deflect incoming attacks by creating dense ‘walls’ of concentrated air. The user can also manipulate the wind to propel themselves through the air, allowing them to fly at high speeds or reposition themselves midair.

Due to being wielded by a Deskunte, the wind produced by the technique is imbued with the user’s killing intent, making it inherently poisonous. Targets designated through the user’s bloodlust who inhale the wind have their stamina rapidly drained, and prolonged exposure can result in a slow, agonising death. Even if a target can withstand the initial force of the wind, they remain vulnerable to its poisonous effect, making the technique effectively unblockable and difficult to remove even with reverse cursed technique.

Extension Techniques

Helmet Splitter (兜割, Kabutowari) is an extension technique that allows the user to project cross-shaped slashes of compressed air capable of cleaving through inanimate objects, Kalyans, and Deskunte Warriors at both close and long range.

To fire a slash, the user typically makes a hand gesture toward their target, most often a pointing motion, at which point the compressed air flies toward the target at high speed, cutting through anything in its path. The user is able to determine the size and number of slashes they create, allowing them to deliver precise cuts or overwhelm targets with successive slashes. Unless the target bolsters their durability with cursed energy reinforcement or weakens the slashes through other means, the technique will easily cut them apart.

Due to the poisonous nature of the user’s wind, the slashes produced by this technique carry the same effect. Targets cut by the compressed air are immediately poisoned, causing their stamina to rapidly drain upon contact. Even the shallowest cut is capable of poisoning the target, with deeper and more successive slashes increasing the speed of the effect, eventually leading to their death.

Warrior Pilgrimage (武者修行, Musha Shugyō) is an extension technique that allows the user to broaden the technique’s targeted area to include themselves after forming the necessary hand sign and reciting the technique’s incantation, transforming their physical body into that of wind.

In this state, the user’s body becomes intangible, allowing attacks to pass harmlessly through them. The user can freely move along the currents of air they create, greatly increasing their speed and maneuverability while enabling them to pass through objects or evade incoming attacks with ease.

While transformed, the user retains the poisonous nature of their wind, allowing them to harm others through direct contact. By entering a target’s body or dispersing themselves into the surrounding air, the user can poison anyone who inhales them, rapidly draining their stamina or even killing them.

Despite rendering the user essentially invulnerable, the technique cannot remain active indefinitely, as they must disengage it after a short period of time before their dispersed body becomes too thinly spread to properly reform.

I don’t want to toot my own horn or anything but I made a post a few days ago about a cursed technique I had created and a number of commenters pointed out how similar it was to a new sorcery that had been revealed within the recent chapter of Kagurabachi. This was funny considering I had made some preliminary posts about the ability long before the chapters came out and now with this weeks chapter of Kagurabachi, a new application of the new sorcery has been revealed which aligns very well with the technique I created days ago.

I’m not claiming it was copied or anything, gravity in of itself is a very basic power but all those who pointed out the similarities underneath that post, you have no idea how right you were 😂