THE SHINIGAMI TEMPLATE
I. Racial Techniques/Abilities/Skills» Racial Abilities: Kidou Sickness:
Despite having had this ailment for hundreds of years, Erenyata is still unsure as to what the exact cause is or was. However he has been able to determine it is likely related to his usage of Kidou on a daily basis, using Kidou to modify his Zanpakutou, and handling highly unstable Forbidden Kidou as often as he has. Regardless of the exact reason for this illness, the symptoms are quite severe. The primary aspect of Kidou Sickness is chronic, severe pain almost always ailing his mind and body. This constant pain causes him to take medicine for it throughout the day, every day and is also one of the reasons why he sleeps twenty or more hours a day. The second symptom of Kidou Sickness causes Erenyata to inexplicably love the taste of Kumis, a Mongolian drink made of fermented mare milk. This has led to Eren almost obsessively drinking Kumis, to the point of having a Kumis production facility attached to his palace in the Soul King Realm. Skilled Hand-to-hand Fighter:
Much like his swordsmanship, the origin of Erenyata's fist fighting skill comes from his time as a vagrant in the Inuzuri district where he had to fend off bloodthirsty criminals all day every day. This means at first his combat style was brutal and primarily geared towards killing or crippling attackers, and though this has changed dramatically the rawk skill he developed in the outer Rukongai district allowed him to easily understand and learn more martial arts later on in his life. By utilizing his capabilities gained through difficult experiences and official martial arts training eventually learned Eren has become a capable hand-to-hand combatant, utilizing this type of fighting to take on his opponents before drawing his blade. Because he largely prefers to wait to use his Zanpakutou until necessary, Eren regularly gets practice with his physical martial arts despite not specializing in it. Hansha Yawarakai
(反射 柔らかい, "Soft Reflection"): Wanting to develop a fighting style not based on horrendously harming his opponents, Erenyata eventually created Hansha Yawarakai as a result. Some time in the twelfth century he observed the man who the origins of Daitō-ryū, a defensive Japanese martial art, supposedly lied with though Eren could have no way of knowing at the time. This man, known as Minamoto no Yoshimitsu, had trained to learn the empty-handed martial art of tegoi and added his own experiences and knowledge to it, creating Daitō-ryū as a result. Erenyata did essentially the same thing by learning Daitō-ryū and then adding what he
knew and had learned through experience, creating Hansha Yawarakai. Over time Eren further developed and evolved his unique fighting style by combining the developments he made through Kidou and Zanjutsu, fusing various aspects of all three to make a fighting style truly distinctive to him and him alone.
The basic and most core principles of Hansha Yawarakai consist of using it for self defense, combining spiritual and physical combat into one soft-fisted fusion, and not causing permanent damage to attackers. The first tenant focuses on prioritizing defense over offense in essentially all forms, usually preventing Eren from using Hansha Yawarakai aggressively or to cause harm if not entirely necessary. The second utilizes the user's high level of spiritual focus and control to complement their physical martial art skill in order to use attacks and defensive moves consisting of both and against enemies of all kinds. This means even individuals with entirely metaphysical bodies are still vulnerable to this fighting style and makes it incredibly difficult to defend from it. In fact the unique metaphysical and physical fused properties of Hansha Yawarakai essentially ignore defenses and durability of all kinds, giving Eren a way to battle those normally near or entirely invulnerable to physical hits. This capability is limited by the next aspect of the martial art: Not causing significant harm to attackers. This tenant basically prevents Hansha Yawarakai from being used to injure or overpower attackers in almost all cases, reinforcing the defensive focus of the style.
Now onto the specifics and mechanics of the fighting style. Hansha Yawarakai focuses on throws, disarming techniques, and using an attacker's momentum against them. The primary use of it is to redirect a foe's attack so as to prevent damage to both Eren and his opponent. This aspect of Hansha Yawarakai can be surprisingly frustrated to deal with, especially for aggressive fighters who have difficulty harming Eren while also being turned around and away from him in such a way as to knock them off balance. Like Nagai Michinori Keitai, this usually leads to long and drawn out fights in which Eren's win condition is waiting until his attacker is tired out and can't fight anymore. What allows him to fend off metaphysical foes and attacks is the smooth spiritual force focused on his hands capable of redirecting and pushing away energy based objects or beings without much trouble.
There is one exception to the rule of only focusing on defense and not causing severe damage, which only occurs when Erenyata is enraged. While he otherwise doesn't care about using enough effort to actually injure someone, when particularly angry this changes completely. By concentrating spiritual force and energy onto the edges of his hands and then having it vibrate back and forth rapidly, Eren can switch from redirecting attacks to causing severe damage. With this enhancement and an open palm fighting style Eren's strikes can cause major interior damage capable of bypassing exterior defenses and durability including, but not limited to, internal bleeding, organ damage, burst blood vessels and arteries, and even cracking or breaking bones depending on how much damage he wants to cause. The more extraordinarily wrathful attacks of Eren's cause powerful blasts of wind and pressure to rocket through his victim's body and out the back, appearing as air pressure explosions on the opposite side of where he hits them. Landing multple swift strikes with this style can cause significant interior and exterior injuries to who he hits depending on their own resilience. Though significantly more dangerous than standard Hansha Yawarakai, this form causes much more physical exhaustion for its user and can be difficult to maintain for extended periods of time without potentially causing self harm.
- 10-Ton no Yashi (10トンのヤシ, "10 Tonne Palm"): The first of the Tonne Palm series of techniques Erenyata uses when feeling particularly angered. Though as stated previously Hansha Yawarakai is almost always a defensive martial art revolving around using a foe's momentum to deflect and turn attacks against them, this technique is one of the few ways it can ever be used aggressively. By performing a forward facing open-palm strike Eren can create a blast of pressure capable of ignoring 50% of the victim's defenses and durability, equivalent to about ten tonnes of mass being slammed into whoever or whatever it hits. The pressure blast doesn't start until about a meter away from Eren however, so if his foe stays within close enough range this technique becomes irrelevant. This is because if the blast did start at his hand it would likely damage his own arm in the process of using the technique. The blast is about five meters in diameter. Though able to be used in rapid succession, overuse of 10-Ton no Yashi can result in noticeable physical exhaustion.
- 50-Ton no Yashi (50トンのヤシ, "50 Tonne Palm"): By using five times the amount of pressure and force as he does with 10-Ton no Yashi, Erenyata can, as the technique's name implies, multiply the mass of the resulting cannon-like attack to 50 tonnes. This attack is considerably stronger than the weakest form and as such is capable of causing noticeably more damage to what it hits, whether it be a person or object. Like its weaker cousin, 50-Ton no Yashi ignores 50% of the defenses and durability of whatever it hits. The size of the blast is 8 meters in diameter and still starts about a meter away from Erenyata's hand. This technique is slightly less spammable than the 10-tonne version, and requires more physical energy to use.
- 100-Ton no Yashi (100トンのヤシ, "100 Tonne Palm"): Now ten times the original strength of the original version, this is where the weighted Palm technique really takes off in power. With one hundred thousand kilograms, equivalent to over two hundred thousand pounds, of force in the resultant pressure blast which ignores 50% of all defenses and durability, 100-Ton no Yashi can cause severe damage to objects and people it hits. The blast, now 13 meters in diameter, is capable of collapsing skyscrapers by obliterating an entire level of the building. The destructive capability of this technique is high enough to blow away reinforced concrete like it is dust, send even strong individuals flying, or blast apart solid shields and defenses. Due to being of greater intensity and strength than the previous forms, this technique causes more physical exhaustion when used.
- 1000-Ton no Yashi (1000トンのヤシ, "1000 Tonne Palm"): This is the final version of the Tonne Palm line of techniques, and simultaneously the most powerful. However an interesting difference between this form and the others is it actually causes less overall destruction due to the diameter and overall size being noticeably smaller, the former measuring in at about a half meter. This is due to the roughly 2.2 million pounds worth of pressure being condensed into an incredibly small area to cause as much precise damage as possible to what it hits. Another noteworthy difference is the blast begins directly at his palm instead of a few meters away, risking potential serious injury to his arm in order to surprise opponents or ensure the technique actually lands by being able to hit them with it while touching them. The surprise element of this aspect of the technique cannot be understated due to the mind games Erenyata can play with his foe; one example being repeatedly using 50-Ton no Yashi to lure an enemy into believing the technique doesn't damage anything within a certain range of Eren, and then once they are close use this technique to devastate them. The more concentrated power of this version benefits quite a bit from this change as it can tear apart a victim if landed directly. Unfortunately with these changes come noticeable ramifications as well. One such downside is missing with this technique is significantly worse than the others due to the decreased size of the blast and potential self-damaging aspect of it. Multiple uses without any kind of protection can eviscerate the arm Erenyata used it with. 1000-Ton no Yashi is also significantly more exhausting to use than the weaker versions, thus making it more difficult to use repeatedly or in quick succession. All of these benefits and repercussions together make this technique usable primarily in last ditch attempts or efforts to deal with particularly powerful opponents instead of for show or randomly.
Originating from Inuzuri, the 78th District of South Rukongai, Erenyata started fighting for his life from the very beginning of his memory. Once he laid his hands on a sword, though crudely forged, for the first time it was like two soulmates making eye contact; Truly it seemed as if Eren had been born to wield a blade. Even as a child he possessed enough skill to cut through swaths of criminals and murderers in the rundown district he called home, despite their greater age and experience. Though not given official training, Eren was a match for anyone and everyone in Inuzuri. Gaining experience through this fight for survival put him on a level above his peers. Eventually he would teach himself more standard and official swordsmanship to complement the chaotic, wild fighting style he had always known. Possessing great skill in Zanjutsu, Eren is able to end battles in a single well-placed strike. He is also able to deflect and parry on a supernatural level, seeming to defend from attacks he shouldn't be able to. Erenyata's mastery of individual techniques is incredibly high, allowing him to use them in ways other Shinigami may not even be able to fathom. One example is his use of Hōzuri as a torture technique meant to slowly and painfully tear apart his target until they are so bloody and in pain they either pass out or die from the strain.
As one of the original Gotei Thirteen captains Eren was already a skilled swordsman long before ascending to the Royal Guard. Considered one of the most naturally talented Zanjutsu users at the time, Eren was well-respected by his peers. Though Kidou had already taken over his focus and life, even as a Royal Guard member Eren has spent large portions of his time practicing his swordsmanship to keep any possible rust away as well as training and learning to stay ahead of the curve. In particular Eren has enjoyed the hobby of learning the sword-based martial arts of humans on Earth, concentrating primarily in Japan and the Arabic world giving him a dangerous blend of wide stance hyper-aggression and more concentrated, flowing, artful skill. Fusing these fighting styles with Zanjutsu has given Eren the ability to fight in almost any fashion, whether it be offensive, defensive, or any other feasible situation. Despite this wide ranging skill, Eren has demonstrated a preference to usually use a few specific styles or techniques.
Shimai Ken'nomai (シマイケンノマイ, "Dance of the Sister Swords"): While fighting with only a single sword Erenyata's preferred fighting style is Nagai Michinori Keitai, a defensive attrition-based martial art. With two swords, this style takes over and could not be more different from his regular martial art. Shimai Ken'nomai is a dual-wielding swordsmanship martial art which prioritizes smooth, precise movements in order to fight in almost any way whether it be offensive or defensive. When Erenyata made Shimai Ken'nomai he made sure to keep one principle in mind over all others: Never stop moving. This shows quite predominantly when watching him perform this fighting style. Precise movements and constant motion combine beautifully to form an almost dance-like martial art, dazzling in appearance. Due to wanting to remain moving Eren tends to spin and juke a lot while using Shimai Ken'nomai, never even allowing himself to break for a microsecond between steps. This style also utilizes the terrain and nearby objects to maximum potential. Flips, rolls, jumping off terrain, and using his swords in creative ways (such as throwing one or both in the ground to hop from hilt to hilt to avoid lava) are just a few examples of the environmental uses of Shimai Ken'nomai. With this fighting style grace is the name of the game as Eren can dip duck and dive even in rapid succession to avoid incoming projectiles, his agility and flexibility allow him to bend in seemingly awkward or impossible ways.
- Nagai Michinori Keitai (長 道路 形態 "Long Road Form"): Though for most of his life Eren fought primarily using the chaotic, instinctual swordsmanship he learned through experience while living in Inuzuri, once he became trained in formal Zanjutsu he developed a very different fighting style. Nagai Michinori Keitai, also known as "Long Road Form", is primarily defensive in almost every aspect. Unlike usual sword-based martial arts which rely on ending fights or duels in a single stroke, Nagai Michinori Keitai is the exact opposite: By standing defensively and only blocking and parrying, Erenyata is able to force his opponents to stay aggressive and either tire themselves out or provide him with openings. In this way the name is quite descriptive as a sword duel with Eren ends up being extremely drawn out and slow. By keeping a light and relaxed stance he is able to maintain this turtling defensive style without risking any part of himself. The essence of this fighting style originates from the beliefs Eren has developed about swordsmanship as he believes while other swordsmen may think fighting is about asserting dominance or victory, he believes it is about survival; When he was a child this meant killing those around him before they could do the same to him, but as a skilled and powerful Shinigami years later it means protecting himself from aggressors as he knows it isn't as easy for him to die anymore.
- Yamārashi no Hogo (ヤマアラシの保護 "Porcupine Protection"): Being both a technique and a sub-fighting style, Yamārashi no Hogo maintains deep versatility despite having a single specific purpose. As its name suggests this technique is meant primarily for defense, but can be dangerous nonetheless to foes. How Yamārashi no Hogo functions is by, as per Nagai Michinori Keitai, maintaining a defensive stance and staying in a relaxed stance Erenyata can parry or reflect enemy attacks relatively easily depending on their strength, speed, and specifics. However this technique functions by adding another step to the process: After deflecting or parrying Eren follows up with a quick lunge, attempting to skewer whoever or whatever is fighting him. This can be used in quick succession as well by repeating the process every time his foe attempts to strike him, or it can be used in response to a longer series of attacks by parrying everything and then lunging at the very end of the exchange. The speed and strength of the stab can vary wildly, but against worthwhile opponents it is usually devastatingly dangerous as it can pierce through many physical and metaphysical defenses if they aren't abnormally powerful.
- Arumajirosu no Seiiki (アルマジロスの聖域 "Sanctuary of Armadillos"): Considered to be one of his personal style's most powerful techniques, Arumajirosu no Seiiki is both difficult to pull off and formidable in strength. To start the user holds their sword in one of three positions: Directly in front of their torso, wielding it with both hands; Held diagonally across their back with one hand; Or held in its sheath with one hand. Each of these positions provide different pros and cons in relation to one another, eg the sheathed stance allowing for quicker reaction to essentially any incoming attack or across his back to defend from surprise hits and those harder to deflect. Once positioned the user focuses all their senses on any possible attack from their foe, from any possible direction. This increased focus has two benefits: It almost seems to slow down time from the user's perspective and makes surprise attacks against them worthless. Sanctuary of Armadillos operates by essentially creating a "field", or zone, around the user in which they are able to defend from almost any attack which enters it, be it physical or metaphysical. Using their maximum speed and strength available to them the user, through sheer skill, either blocks or deflects attacks which approach them. The speed and deftness of the user even allows them to deflect Cero attacks with the flat edge of their blade by manipulating their direction with sword's blade and then either sending it careening off toward neutral ground or back toward the attack's creator. While Arumajirosu no Seiiki is largely considered to be Eren's "perfect defense", the issue with it is outside of the prior example of redirection it has essentially no offensive value and is next to impossible to use in conjunction with offensive techniques or abilities due to the tremendous focus and concentration required to use it.
- [EVENT ONLY] Tenno Umi no Shinryaku: Dekinai Toride (天と海の侵略できない砦, "Impenetrable Bulwark: Against Heavens and Seas"): Above all others, this technique is both the most difficult and powerful Erenyata has at his disposal. The scope of this skill is on a level far greater than even Arumajirosu no Seiiki, and as such is considered to be his ultimate swordsmanship technique. Requiring incredible speed, strength, precision, and skill, performing Tenno Umi is more strenuous than even Saisenkō, the Zanjutsu equivalent of Shunkō. It is for this reason Eren has never taught it to anyone as the effort required to do so is more than he is willing to put forth.
To use Tenno Umi, Erenyata must be of sound mind and body; Meaning, he cannot be under any psychological, mind-altering distress or effects or be too severely injured. If he has lost use of both his arms this technique becomes impossible to use, and significantly more difficult to pull off if he's only lost one. To start Tenno Umi, Eren must be standing with his knees slightly bent and feet about shoulder's width apart, holding his sword horizontally in front of him with his arm(s) stretched out. Once in this stance he must close his eyes and deeply breathe in and out, slowly. At this point steam-like energy will begin radiating off his body, floating upward in thicker and thicker wisps until it's billowing like Eren is on fire. To observers this change can be detected as an abnormal, almost alien, energy significantly different than his regular Reiatsu. This "steam" is created by a combination of his Sword Elegance and Focus. The former is essentially all his swordsmanship skill given form, the latter being his ability to focus his senses and mind fusing with it. Though not an actual ability, his supernatural existence and power passively gave life to his skill and made it the lifeblood of this technique.
Once positioned correctly and given a few seconds to release his skill, Tenno Umi can at last be used. By rotating his Zanpakutou one hundred and thirty five degrees clockwise (or counterclockwise if the blade's point is pointed right) and then taking a left step forward he can move onto the main course. All that's left to do is step forward with his other foot and then swing his sword downward diagonally with a flick of his wrist. Though seemingly just a cut, using his maximum power and metaphysical swordsmanship skill gives Tenno Umi some unique attributes not normally seen by a regular technique. Notably, being struck by this attack is not like getting hit by a physical object as the injuries are entirely on a spiritual level. If a leaf were to be hit by the resulting vacuum, it would likely survive without injury; however, should a spiritual being like a human or Hollow be struck, their Reishi on an infinitesimally small scale would be torn asunder and thus their energy reserves would seemingly be reduced by a severe amount. Along with this, recovery afterwards would both take longer and be more exhausting for the recipient. Due to the abnormal "energy" used in this technique many attempts to negate it or weaken it to an insignificant level will likely be unsuccessful. The size of the cut stretches from the ground directly in front of Eren to the heavens far above his head.
Occurring simultaneously with the cut is an outward explosion of pressure in the shape of a half sphere in front of Eren with the rounded side facing the same direction he is. This creates a Cleansing Zone around Eren and behind him which crushes and demolishes almost any foreign energy, objects, or creations. This includes things like weapons, magical attacks, or living creatures (the last of which will feel like an ocean of pressure is constantly trying to squeeze and squash the victim). The force of this aspect of Tenno Umi is great and acts as a decently sized barrier capable of protecting Eren from the effects of the slash and most attacks an opponent may have sent at him during it. For an opponent trying to walk through the wind and pressure barrier-it would feel like trying to push through a landscape-altering hurricane.
The downsides of such a technique are severe enough to make using Tenno Umi almost never worth it to Eren. The sheer physical exhaustion resulting from it are extreme, equivalent to using Bankai for six straight posting rounds except all at once and instantly. This explosion of exhaustion usually prevents Eren from using it as a last-ditch attempt in a battle, and also makes it lousy to use at the beginning when he is still fresh and needs to remain strong. The power of Tenno Umi is also indiscriminate, causing destruction to friend and foe alike on such a wide scale it is a horrible technique to use near allies. Also worth noting is after using Tenno Umi, Erenyata's Zanpakutou instantly seals itself and prevents any more uses of Releases for the remainder of the thread. Finally, the final consequence of using this technique is the mental exhaustion which accompanies the physical. Due to the focus and concentration required to use Tenno Umi, Eren has difficulty using either afterward. All of these downsides combined make Tenno Umi useless in most instances Eren finds himself in.
Yōso no Odori (要素の踊り, "Dances of Elements"): Upon inventing the combination of Kidou and Zanjutsu, known as Kirijuts, Erenyata found himself in a bit of an odd situation. None of his previous formal swordsmanship martial arts seemed to synergize well with the simultaneous use of Kidou. In fact, the rigidity and preset stylings of his other martial arts were essentially the antithesis of Kirijutsu's wildly more free form combat methodology. As a result of this difference Eren invented Yōso no Odori in order to be used in conjunction with Kirijutsu, however it is plenty formidable without the additional Kidou. The core concept of this martial art is there are 5 "Forms" built to work with different types of Kirijutsu spells. Eren developed each Form to be inspired by an element with the express purpose of each crafted to synergize with Kirijutsu. The differences between the Forms are dramatic and almost make each appear to be unique styles but the common theme and most basic principle keeps them connected under the umbrella of Yōso no Odori. One of the principles of the Dances of Elements is spiritual strength in utilizing Reiatsu and energy with the various Forms in order to be both at peace with and focused on the surrounding world. While this does have more profound meaning, many of the applications of such a principle usually consists of increasing combat capabilities of the user.
Kasai no Katachi (火の形, "Form of Fire): Of the five elements, Form of Fire is by far the most aggressive. Every bit of this Form is like a raging blaze of bellicose ardour and thus utilizes and works best with the most battle-oriented Kirijutsu spells. The footwork involved in Kasai no Katachi is fast and furious, the user staying on the offensive without break or giving their foe a chance to recover or respond in kind. Along with this the user's combat attributes, primarily strength and speed, are pushed to their limit with ferocious strings of connected sword swings and stabs meant to keep their enemy on their back foot. This combination is quite potent and particularly useful against enemies who like to fight at range as it can be incredibly difficult to stay away or defend from Erenyata while he is using the Form of Fire. This Form causes Eren's spiritual pressure to resemble a burning inferno and can be manipulated to create powerful, widespread blasts originating from his Zanpakutou. This aspect causes Kasai no Katachi to be incredibly dangerous but as a result also the second most exhausting to use and can, over time, tire Eren out depending on the strength of whoever he is fighting. Form of Fire symbolizes the incredible wraith bubbling deep beneath the calm, uncaring surface of Eren's consciousness and the deadly battle that consumed his life as a child.
Mizu no Katachi (水の形, "Form of Water"): Of the five Forms, Water is the most majestic and dance-like in both theory and practice. It also arguably has the most range and versatility of them all as well, being useful in offense and defense. As previously stated Form of Water is like a beautiful dance, the foot and body movements meant to portray a sense of solemn majesty by melding together in smooth motions similar to Hansha Yawarakai in that respect. Due to every action and movement gently transitioning to and from each other this Form can be difficult to keep up with for less or equally skilled opponents, especially because it tends to favour parrying into alternating swiftly between lunges and swings until parrying again which can be especially effective against individuals unprepared for this kind of combat. By using spiritual pressure in waves Eren can both defend from enemy attacks more effectively and create large tsunami-like Reiatsu deluges capable of overwhelming enemies through size and shape by washing across the battlefield instead of destructive power. Form of Water is meant to symbolize the natural ability and skill of Erenyata and the knowledge he has accumulated over the millennia of his existence.
Chikyū no Katachi (地球の形, "Form of Earth"): Erenyata struggled with creating a Form to work best with defensive and barrier-based Kirijutsu due to already possessing Hansha Yawarakai but was eventually able to develop Chikyū no Katachi. While the other Forms are supposed to have free versatility, Earth focuses on strict and unbending combat in order to maximize its overall power. Unique to Earth, Eren fights by striking with the back edge of his Zanpakutou while using this form in order to cause blunt damage in lieu of slicing and cutting. By combining this with rigid, power-focused motions and thick blocks of hardened spiritual pressure Eren is able to cause tremendous amounts of physical trauma as well as defend against many attacks which come his way either by blocking or counteracting with strikes of his own. Form of Earth symbolizes Eren's steadfastness and uncompromising personality, his powerful will which prevents him from giving up tasks he has started no matter how long it takes to be successful, and the rigidity of his formal training and life serving with Genryusai Yamamoto in the Gotei Thirteen.
Kaze no Katachi (風の形, "Form of Wind"): Of the five Forms, Wind most resembles human, and in particular Japanese, swordsmanship. Much of the inspiration for Kaze no Katachi came from Miyamoto Musashi's teachings and writings, though these were only part of the overall development of the Form. Meant to not waste even a single millisecond of movement or effort, Wind is incredibly precise and efficient in both movements and mentality. This is in stark contrast to the wild aggression of Fire and almost flair-oriented Water Forms. By not wasting steps or time Kaze no Katachi sheds the panache of other martial arts in exchange for hard practicality, resulting in the most effective of all of Eren's Forms. Despite the name, Wind does not involve using Reiatsu to create gusts of any kind and instead uses it to enhance Eren's sword's cutting power to maximum levels and cause razor-thin waves of pressure capable of piercing durable defenses and open up wide chasms in the ground, terrain, or objects indiscriminately. Form of Wind represents Erenyata's sharp intelligence and pragmatism, and the way he views the world and people as just being tools and means to ends.
Kuro no Katachi (黒の形, "Form of Black"): While the other four Forms of Yōso no Odori are representations of elements in various ways, it is more accurate to say Black is the absence of elements of any kind. In this way it is significantly different from them all while also being exactly like them simultaneously. The first aspect of this statement is portrayed by having no elemental characteristics, no flaming aggression or unbending earthly stature. Instead it is all about concrete martial arts, a fusion of all of Erenyata's knowledge and skill into a single style. By combining the movements and capabilities of the other four Forms Eren is able to create one that is less specialized and thus not as good as any individual Form, but more universal and versatile than any of them alone. Kuro no Katachi can theoretically be used with Kirijutsu spell but lacks the emotional or spiritual will of the specialized Forms and thus is less effective at using them to their maximum potential. However there is one thing Black does better than any of them, which is the use of Reiatsu for battle purposes. By creating an extremely intense vortex of spiritual pressure along his blade Eren is able to increase its destructive and defensive properties to higher levels, fight more consistently with a single utilitarian Reiatsu effect, and be more effective in general combat. Form of Black represents the pitch dark stain on Erenyata's soul as a result of his childhood spent in agonizing, mind-altering mental isolation due to constantly having to fight for survival and the lack of meaningful relationship with his Zanpakutou.Hōzuri (頬摺, "Cheek Stroke"): This regular Zanjutsu technique has very little actual use in combat as it is meant to cause as little damage as possible. By way of inhuman precision and control over his blade Erenyata is able to deal superficial damage in the form of tiny cuts, almost imperceptible in speed due to only seeking to lightly graze the target instead of cause severe injuries. However there are two uses Eren has for Hōzuri: First, as an intimidation tactic as it basically tells his opponent he can hurt them and they won't even realize it happened until he tells them or it's too late; Second, if Eren is enraged (a very rare occurrence) or feels particularly slighted by whoever he is fighting, a fighting style he has been known to use is "Execution by Endless Cuts". Similar to Lingchi, or death by a thousand cuts, this consists of striking the target as many times as possible with attacks which cause minimal damage. Eventually all these injuries will begin adding up to cause incredible, continuous pain across the individual's entire body until they either mentally break, pass out, or die depending on how merciful Eren is feeling at the time.
Agitowari (顎割, "Chin/Jaw Splitting"): There are few Zanjutsu techniques more effective at instantly ending a fight than Agitowari. Meant to kill whatever it strikes in an instant, Agitowari consists of a single powerful sword slash from the target's jaw down the entire length of their body. The acknowledgment of most strong opponents being able to defend from Agitowari in some way means Eren usually only uses it against fodder and weak enemies so he can expend minimal energy to deal with them. However if used with enough speed and power even strong foes can fall victim to this supreme slice, able to cause severe lacerations or worse at the very least.
Ryōdan (両断, "Bisection"): Unlike Agitowari which is meant primarily to effortlessly strike down weak opponents, Ryōdan is a significantly more powerful Zanjutsu technique. Meant to be used with both hands and maximum physical power, this attack's name is meant to strike true. This full-powered sword swing can cause enough damage to defeat or kill even dangerous individuals if they aren't careful, or at least cause near-mortal wounds depending on their durability. When used from behind Ryōdan can be incredibly difficult to defend against, requiring not just high effort from the one being attacked but also enough speed to turn around first as it is significantly harder to block over the shoulder compared to a head-on attack. Sufficiently powerful users like Erenyata can cause explosions from the physical force and speed used by this technique, sending up blasts of dirt or dust in its wake.
Onibi (鬼火, "Oni Fire"): Despite its name, Onibi doesn't actually utilize flames of any kind. Instead, this technique consists of a single powerful thrust with either a bladed or blunt weapon capable of essentially creating a wind tunnel of force strong enough to tear large, gaping holes through people or objects. Depending on the physical force used behind Onibi, the resulting cylindrical hole's size can vary wildly from as small as the weapon used or, in some extreme cases, larger than a house. The real potential of Onibi however comes into play when the user combines other abilities or techniques with it, an example being if it was used while Eren had Saisenkō active it could create powerful explosions akin to bullet trains in shape.
Hitotsume: Nadegiri (一つ目・撫で斬り, "The First: Killing Stroke"): Of all the bisection and instant kill Zanjutsu techniques, this is by far the most powerful. The primary difference between this and other techniques is Hitotsume: Nadegiri is meant to be used so fast the victim doesn't even realize what has occurred until it's too late. Also unlike the others, the speed and strength used with this attack is must be extremely high or else the effect is heavily diluted as it functions on milliseconds to beat the target's senses. Similar to Iaijutsu, Nadegiri involves unsheathing the user's sword, striking instantly, flicking blood of the blade, and then placing it back in its sheath with a single smooth motion all in the span of a short moment. The strength of this technique is great enough to pierce durable Hierro or collapse entire buildings without too much trouble.
Niban: Hasai Fera (二番・破砕フェラ, "The Second: Shattering Blow"): Unlike Nadegiri which is a near-instantaneous killing move through a powerful cut, Hasai Fera is an attack meant to cause as much blunt force trauma as possible. Using the back of their blade, the user is able to cause incredible impact location and internal damage by striking with the flatter blunt edge. Depending on the individual either speed or strength is favoured, the former allowing Hasai Fera to surpass the victim's senses in some cases while the latter focuses on causing as much widespread destruction as possible. While Nadegiri is all about precision, this technique instead focuses on the tremendous power the user is capable of putting behind their attacks and in a way is the polar opposite of the cutting technique. Despite, or maybe because of, their differences Nadegiri and Hasai Fera can be used consecutively to maximize their potential damage. After finishing the cut of Nadegiri, the user can use Hasai Fera to either blow away the remaining chunks of the victim's body, shatter whatever shielding may have been used against the first strike, or cause double damage of two different kinds in quick succession. Regardless of intent Niban: Hasai Fera is finished by resheathing the user's weapon.
Senmaioroshi (千枚卸, "Thousand-Page Wholesale"): Though most Zanjutsu techniques involve single strikes or sword swings, there are some which take advantage of a Shinigami's inhuman speed to hit a target multiple times in an instant; Senmaioroshi is one such technique. By striking as many times as possible, in come cases dozens or more, as they pass their victim, the user is able either cut them into hundreds of tiny pieces or shatter defenses from the sheer number of attacks. Erenyata's specific use of Senmaioroshi is rare as it requires a decent bit of physical energy to use, but when he does use it his maximum number of attacks can number in the hundreds, shredding most things to ribbons or little more than small chunks of bloody tissue. His own personal flare added to the technique usually consists of landing the blows and then placing his sword back into its sheath as he walks away as if nothing ever happened in the first place.Saisenkō
(最戦叫, "Cutting Edge War Cry"): Centuries before Yoruichi Shihoin or Sui-Feng even hypothesized the idea of the Shunkō technique, Erenyata had already long since theorized the possibility of fusing Kidou with Zanjutsu fighting in order to use both in tandem. For years he had worked on creating this perfect fusion of two Shinigami skills to create something greater than the sum of its parts. It wasn't until about thirty years after first creating the idea of a Kidou Zanjutsu fusion did he begin trials, most of which ended in either explosions or dead test subjects. While with Shunkō the Kidou wraps around the user's body, in Saisenkō the energy needs to be stabilized around and on their Zanpakuto. This simple fact made creating this technique incredibly difficult, stretching the process across many decades. However eventually Erenyatu succeeded in his endeavor by creating an unstable, imperfect version of Saisenkō and then spending the following hundred years refining and perfecting it to the point of utter mastery. At some point the knowledge of this ability was passed to Eren's fellow 0 Division member and future Captain Commander of the Gotei 13 Tsubine Koezuka due to her specialization in Zanpakuto-related Kidou.
As previously stated Saisenkō is the result of combining Kidou with the user's Zanpakuto and Zanjutsu skill, creating a technique far stronger than either separate. By creating and then focusing a tremendous amount of Kidou energy on and around their Zanpakuto, the user can activate Saisenkō. However the difficulty with this is if the wielder does not know the exact limits of their spiritual weapon it can shatter if they use too much Kidou power or prevent the technique from working if they use too little. Unless the maximum amount of power is used either an explosion will occur or all the energy will just immediately dissipate; it is this aspect of Saisenkō which requires years of practice to even begin using the technique and decades or more to master it. Erenyata didn't have too much trouble with this as he had long since mastered controlling Kidou and learning his Zanpakuto's limits.
Once the user is able to adequately learn how to envelop their Zanpakuto in Kidou energy, they must then train themselves to fight with Saisenkō. Due to the incredible amount of power involved in this technique Erenyatu had to essentially relearn Zanjutsu because normal Zanpakuto combat isn't fitting for it. Not only does Saisenkō make the user's weapon feel extremely heavy but learning to control the energy so it doesn't tear their body or surroundings apart is a long process. However once this as well is accomplished, Saisenkō becomes the highest form of Zanjutsu in essentially all aspects. The destructive power of the technique is said to be capable of defeating opponents of equal strength without ever even needing to use a sword release. A significant advantage of Saisenkō is it allows the user to fight at all ranges as it can dramatically enhance their close quarters combat while also being able be fired at opponents, resulting in powerful and destructive explosions. Other aspects of Saisenkō include the ability to negate equivalently powerful or weaker energy attacks, increase the weapon's cutting power and durability ten fold, and cause damage across wide areas. Like Shunkō there are a few sub-techniques and additional effects possessed by Saisenkō:
- Yōso Saisenkō (要素最戦叫, "Elemental Cutting Edge War Cry"): Unlike the Hakuda equivalent, Saisenkō does not inherently possess an elemental property and so it must be actively warped depending on what the user prefers, each requiring at months of training under normal circumstances to use. Currently Erenyata has developed three different elements for it, each of which must be used separately: Wind, Lightning, Fire. The Wind form appears like swirling gusts wrapped around the Zanpakuto and increases the weapon's cutting power twenty fold as well as allowing the user to launch air waves capable of piercing most objects it comes across. The Lightning form is by far the most destructive, covering the blade in bolts of electricity which can be shot out to cause severe damage to terrain and people alike and makes close quarters combat against the Saisenkō user particularly difficult as they can continuously shock nearby opponents. Last but not least is Fire which coats the Zanpakuto in flames hot enough to burn holes through the most fire retardant materials around. While they can all cause damage across wide areas, Fire allows the user to create powerful explosions large enough to encompass entire battlefields if need be.
- Rūshūta Saisenkō (た最戦叫, "Looped Cutting Edge War Cry"): While even just a beginner's Saisenkō is dangerous enough, this perfected version achieved solely by Erenyatu is on a whole other level in both power and capability. Unlike the normal version of this technique which requires the user to create the initial burst of energy required to active it and then replace any energy used in battle, the mastered form operates significantly differently. By recycling any energy or power used by the technique, the user is able to achieve Rūshūta Saisenkō: An endless, looped Saisenkō which does not require any extra energy after the initial burst. This difference changes its appearance so there always seems to be wind, lightning, or fire being absorbed by the energy around the user's blade. Being able to maintain this technique for as long as the user wishes is a tremendous boon to the user, but is incredibly difficult to sustain focus-wise without putting in a lot of training to perfect it.
- Saisenkō: Saigo Owari-wu (最戦叫 終円, "Cutting Edge War Cry: Ring of the End") Considered to be the ultimate capability of Saisenkō, this technique has been mastered only by Erenyatu and taught to Tsubine Koezuka. Unlike the usual version which is a technique meant to enhance Zanjutsu, Saigo Owari-wu is a final attack which utilizes all the destructive power surrounding the user's Zanpakuto. By stabbing their sword into the ground or placing it tip-down in front of them in the air, the user can send out a ring of the energy which grows and grows until possessing a diameter based on their skill with the technique (Erenyatu's ring can grow to be about five hundred meters). Once this is done the energy explodes up and down from the ring, creating a cylindrical structure of Saisenkō's destructive force with both a ceiling and floor. These walls are incredibly difficult to pierce even for strong individuals as they constantly repair themselves using ambient energy. Once completed, the structure will begin shrinking in size until, after four posting rounds, everything it can possibly destroy within its walls is vaporized. This is considered to be a final technique not just because it requires all the power of the user's Saisenkō but because it is just as likely to damage or destroy them as it is their opponent. For this reason Erenyatu has never gotten a chance to use it at full power without extensive preparation beforehand, including creating multiple high-level barriers and shields around himself before activating it. Once Saisenkō: Saigo Owari-wu is used the user cannot use Saisenkō for the remainder of the thread in which it was created.