Post by Danna on Dec 1, 2008 17:34:07 GMT -5
General
Name: Kokoro
Alias(es): Genkugutsu no Kokoro (Kokoro of the Illusionary Puppets); Rokudaime Kazekage
Age: 20
Gender: Male
Specialty: Genjutsu and Puppet Ninjutsu
Rank: Kage
Home Village: Sunagakure
Current Village: Sunagaure
Organization: N/A
Personality: Outwardly, Kokoro often seems a bit ditzy and airheaded. Not to say that he seems stupid, but that his mind often seems to wander and he isn't particularly fond of sitting around himself either. He occasionally forgets things thanks to his absent mind, and is most often to be found apologizing to someone, somewhere (especially the council) for forgetting to do something. A lover of poety and literature in general, it isn't uncommon for him to sound a bit strange when he speaks, but he always manages to get his point across. He comes across as a very kind and down to earth sort of person, which has made him very popular among the villagers, especially considering how often he seems to get genuinely involved in the affairs of the everyday person (something he has been scolded for on more than one occasion). His kind eyes and sweet, childish demeanor can get him out of practically any form of trouble, and it isn't uncommon for people to mistake him for your average wanderer, considering that he doesn't seem like much of a shinobi. His knowledge of this however has enabled him to become quite the manipulator, and his skill with controlling people like puppets has made him famous among the ninja who know of his achievements. His calm appearance belies his ruthless nature in combat, and his desire, more than anything, to enable his home village to stand strongly amongst the shinobi groups.
Hair: Black and semi-long, it is rarely (practically never) let down. Instead, it is typically tied up into three seperate tufts, two on the right side of his head (front and back, both on top of his head as compared to the side or back) and one on the left side in the direct center of the side of his head.
Eyes: Dark rings of makeup (Gaara style) encircle his soft, sand colored eyes. he has very kind eyes that seem to radiate genuine care, making Kokoro rather popular (especially with the ladies). No matter what, he always seems interested in what another person is saying, and a look from him tends to give the impression that everything is taken care of. His eyes are, perhaps, the most manipulative tools in his posession.
Height: 5'9"
Weight: 120 lbs.
Clothes:When on particular business, Kokoro wears the traditional robes of the Kages (though he blissfully "forgets" his hat everytime). The outfit consists of a simple, flowing white robe, left open to expose deep blue colored pants and shirt, with a white sash seperating them. A white, scarf-like sash is typically worn around the neck as well, covering the collar of the robe. Otherwise, Kokoro dresses very similarly (perhaps why he doesn't mind the dress robes so much) in a set of sand colored robes with similar white sashes around his waist and neck. His sandals and gloves (fingerless) are black, as is his nailpolish of choice. Typically carries a small satchel for various equipment with him, worn across his left shoulder so that it hangs on his right side. A simple, but efficient outfit that Kokoro has grown rather fond of for its comfort and mobility.
General Appearance: Beneath the lengthy robes he always wears, Kokoro sports an array of scars, all of which seem very clean and clear, as though self or medically induced. The most notable of them are the large, X shaped scar over his head (hidden by hair), the wide gashes that fit neatly between each of his his ribs, and the missing strip of flesh over his spine, where a prosthetic metal contraption seems to have either replaced, or been added atop, the original bone. Few have ever seen most of these scars and even less of them ever truly learned the stories of them.
Otherwise, in general, Kokoro seems to be a very kind and likable person, very childlike and inquisitive. His looks are very feminine (especially thanks to his spikey set of pony-tail like tufts) and his body is very lean; not particularly muscular like most shinobi (which is common among puppet users and genjutsu users alike). Very approachable and easy to talk to, one would hardly label him as such a high ranking ninja on sight, or even by talking with him. Something that Kokoro doesn't mind using to his advantage, when need be.
Random Information
Birthday: December 10th
Favorite Food(s): Enjoys fruits and anything with a fruity flavor. Particularly fond of jellies and jams.
Least Favorite Food(s): Cheese
High School RP: Senior (Drama Club President)
Biography
Family History: Both sides of Kokoro's family have long, respected histories as shinobi of standing within Sunagakure. His father, a man named Makoto, hailed from a long line of Puppet Masters, while his mother, a woman named Takaze, was a member of a famous clan of genjutsu users. Both clans could date their history back to the founding of the village (Makoto's clan was even considered to be one of the originators of the Puppet Technique) and so they were highly honored amongst the villagers. Makoto and Takaze were paired together upon finishing their time in the Ninja Academy, and the years they spent working together led to a relationship that ran far deeper than mere team mates. After they had both achieved the rank of Jounin, they announced their plans for marriage to their families, who were thrilled (more at the concept of strengthening their standing in the village than anything else). Soon after they were married, Takaze became pregnant with her first child, a big, healthy boy that they named Tsume. He was followed, in order, by another pair of boys named Rindou and Zentori, and a little girl named Aiko. There was a four year gap between Tsume and the twins, and another six year gap between them and Aiko. Together, the family lived peacefully, each of the children healthy and happy. It was until their youngest had reached the age of eight that things began to change.
On the surface, everything seemed well, and theirs was a family much loved and respected amongst the villagers. But unlike Takaze, who had retired from combat to raise their family, Makoto had remained among the active shinobi ranks. Though things could be rocky with his absences, all had gone well through the previous years, but over time Makoto and Takaze began to grow distant. Makoto seemed troubled when he would return, his mind unstable after years of conflict and lost allies. He would become enraged sometimes for no reason, lashing out at the children and his wife before storming off into the night. In time, Takaze began to feel that she had to escape her husband, and a certain other man had agreed to help her. In the meantime, he had also gotten her pregnant...
Takaze's final child, Kokoro, was born on the night that would also be the death of most of his family. Makoto, having returned from another series of missions, came home distraught, and discovering his wife having now borne another child (one that he knew wasn't his) he couldn't contain himself. Once the doctors had left, Makoto came to his wife, taking the young child from her and placing him in another room. He then returned and murdered his resting wife, slitting her throat as she slept. The events that followed have been considered by many to be one of the most violent crimes ever commited within the walls of Sunagakure.
Telling the other children that their mother had gone to the doctor's to rest for a few days (by the time the other family members discovered she was missing, it was already too late), Makoto used his free time to use the forbidden Human Puppet Technique to turn his wife's body into a puppet; one that could retain the jutsu that she commanded in life. Once it was complete, Makoto took this twisted shell of a mother into the rooms of his sleeping children (each now into their teens, but for little Aiko and Kokoro) and proceeded to will her genjutsu upon them, giving them nightmares of animals devouring them as they struggled for freedom. As they struggled, their father killed each of them in turn, leaving them to bleed out where they slept. Only the youngest was spared.
Gathering the bodies of his children, Makoto did to them what he had done to their mother; and in time, each became a puppet for their father's twisted new desires. Their forms were purposefully distorted to match the animals that he had forced into their dreams the night of their deaths (the reasons why, one can only guess) and once each was complete, Makoto took them and his wife's last, illegitimate child, and made to flee the village. But the authorities had already become suspicious, as had Takaze's lover, and before Makoto could escape, he was confronted. The puppets under his control were more than enough proof for them to act; but ultimately, they weren't able to stop him. Her lover killed, and several ANBU injured, Makoto managed to escape, having lost an arm in the process. Outside of the village, he had the stolen child carried in the arms of his puppet mother until they reached the hideaway that would be the boy's home for the next fourteen years. Over those years, Makoto trained the boy and raised him as his own, treating him better than one might have expected from a man so crazed to have commited murder on his own children. But Kokoro had become his life; his world. And there was nothing more that he wanted than to see this child become the strongest.
Over the years, Makoto had slowly begun the process of turning himself into a puppet, giving instructions to Kokoro as to how the process worked and what to do with his body once everything was complete. He had even taken parts from the boy himself (leaving an array of scars) to teach him firsthand how the technique worked. By the time Kokoro was fourteen, his "father" determined that he had learned enough, and so the final stages of the transformation were implemented. Leaving his "son" alone in the desert, Makoto died with a smile on his face and tears in his eyes; Hoping with all his heart that his son would understand why he had done the things that he did...
Character History: From the earliest point that Kokoro can remember, it had always been simply him and the man he knew as his father. The two of them lived a relatively peaceful life on the outskirts of the Country of Wind, where they took care of themselves through farming what few crops could be reasonably grown in the tough climate. Kokoro's father took great care of him, and trained him in the ways of life, ninjutsu, and self preservation. It wasn't until Kokoro reached the age of fourteen that he had any human contact outside of what he had with his father. That is to say, if you don't count the puppets...
The puppets that Kokoro grew up with became like family to him, in spite of their obvious lack of life. When he was old enough to speak and understand such things, his father sat him down and him the tale behind the puppets, and how in life, each of them had been a member of his family. Of course, Kokoro never learned the sad story of his mother's infidelity or his father's murderous actions. What he was told was simply that his mother and siblings had done bad things and had to be killed. His father told him that it had saddened him greatly, and that he had made puppets of them so that they could always be with him, because he loved them very much. The topic was never brought up again between the two in their time together, and Kokoro has never expressed much interest in further pursuing the story. He trusted his father.
Because his father was missing an arm, the method that he used to teach Kokoro the Puppet Master style of fighting was a bit unique; taking parts from his son at a young age, he made a new puppet that would capable of using his son's jutsu. Using that as a go between, he was able to manipulate objects using ten chakra strings (one for each finger on the puppet) instead of just five (on his own solitary hand). While this still proved difficult, the concept worked well enough for teaching, and became the heart and soul of Kokoro's fighting style. Using five puppets only, the task of actually controlling them could be simplified by using all ten fingers, or broke down to using them one per finger, so that other strings could be used for other tasks, thus for more effective use of each tool. The training was long and rigorous, but Kokoro was more than content with his life with his father and the puppets. It was uneventful until the time of Kokoro's fourteenth birthday.
By that time, his father had already begun work on turning himself into a puppet as he had the rest of his family. Teaching his son the process, he instructed him as to how he wanted his body to be combined with the puppet body of his mother, so that they could remain together. Touched by the poeticness of it, Kokoro agreed to do so. Before they were done, his father instructed him to where a scroll he had written lay hidden, and how he was to take it to Sunagakure and present it to them. Everything else would be taken care of, he told his son. With a smile and tears in his eyes, the two finished the process, leaving the young boy alone in the desert...
After spending time to finish the combination of his parents' puppets, Kokoro took what he needed, and the scroll, and set off for Sunagakure. When he arrived, he presented the scroll to the gatekeepers, and waited to see what would happen. They whispered amongst themselves and one took him in while the other was sent to fetch the Kazekage, currently Godaime. Understanding his origins, he was permitted to stay in the village, where he would be tested for ranking as a shinobi. It was, however, only days later that the Great War began to swell and the Kazekage was killed. The chaos and turmoil that overtook the village lead to a call to arms that quickly thrust Kokoro into the ranks of ANBU, as many other shinobi were, mainly for the sake of having soldiers; many of them were untested and thus perished senslessly in combat.
His time in the ANBU of Suna was well spent however, as Kokoro quickly became famous throughout the village and even the world in general for his skill. He fought in several major battles, and was highly honored for his abilities, earning him the nickname of Genkugutsu no Kokoro, or Kokoro of the Illusionary Puppets. By the time he was eighteen, the war had died down, but the effects of it on the village still remained. The council that had been ruling in place of the Kazekage (there had been no time or candidates before this) finally were able to step back and elect a new leader. And so, still relatively young, Kokoro came to be known as Rokudaime Kazekage.
In the two years since then, the village has begun prospering again, though the many conflicts from the past have kept them from forming any solid treaties with other villages, as they once had. Hoping to bring strength and peace to the village again, Kokoro has worked hard as Kazekage, and has become well favored amongst the villagers.
Combat Information
Weapons: Puppets (explained below in Jutsu)
Extra Items: Nin-Wire, Mesh Net, Smoke and Poison Cloud Bombs
Scrolls: 2 Scrolls; 1st containing the Five Family Puppets; and the 2nd containing the so called, "Puppet of Origin"
Kekkei Genkai: N/A
Jutsu
Replication Technique
Ninjutsu
~ The ninja creates a replica of themselves. The replica disappears on contact but can be useful in causing distractions or setting up complex attack maneuvers.
Replacement Technique
Ninjutsu
~Changes the ninja's position with a nearby in-animate object. Usually a section of log. Higher skilled people can exchange themselves with another person or other such things. Useful for dodging techniques.
Immitation Technique
Genjutsu
~The ninja creates the illusion that they are another person or object. Can be dispelled by the Kai technique.
Kai - Release
Genjutsu
~A simple technique that allows the user to break enemy genjutsu by focusing their chakra to disturb the other's flow. Can only be performed on jutsu within reasonable range of the user's skill.
Escape Technique
Ninjutsu
~A very simple technique that allows the user to escape from ropes or bindings.
False Place Technique
Genjutsu
~A simple Genjutsu technique which changes the appearance of a nearby object.
Art of the Puppet Master
Ninjutsu/Taijutsu
~The Art of the Puppet Master was created in order to convert a form of entertainment into a style of combat. The technique utilizes strings of chakra extending from the user's fingers to control a puppet's movements. Those who can effectively use this ability are rare, but once mastered the user can hide in a safe location while his puppet does the work for him. Skilled puppeteers are able to manipulate multiple puppets simultaneously. These chakra strings also allow puppeteers to manipulate other people or objects, controlling their movements to help or hinder their progress in battle.
Forbidden Art: Dance of the Human Puppet
Ninjutsu
~A method of creating puppets that has long been forbidden to use within the village, very few learn of its performance. Taking the body of a human person just as they are dying and hollowing it out, one can create a puppet from them that is capable of using the jutsus that the person could use while they were alive, thus making them much more powerful than an average puppet. It should be noted that while Kokoro is familiar with the technique, he has not actually performed it (nor does he intend to).
Summoning Technique
Ninjutsu
~ A common shinobi technique that allows the user to summon animals, weapons, people, or other objects through the use of scrolls or other special items. A blood contract is typically required to use these technques properly, though a scroll isn't always necessary.
Headhunter Technique
Ninjutsu
~A fairly basic earth style ninjutsu, the user can project themselves or, in Kokoro's case, one of his puppets beneath the ground for a sneak attack on an enemy from below.
Vivid Illusion - Consuming Desire
Genjutsu
~A genjutsu style passed down Kokoro's mother's side of the family that targets the desires of a person, amplifying them to a point that causes hallucinations and poor judgement. The real power of the technique lies in its ability to affect the actual mindframe of a person, as compared to causing straightforward illusions, thus often making it difficult to tell that the technique is being used. The particular desire targeted differs amongst each person in the family, and thus can cause a variety of affects (described in detail for puppets below). Kokoro's personal version of this technique targets a person's desire for understanding and consideration from others. He can amplify a person's desire to for others to be concerned with their problems, as well as their understanding that he does so, leading them to trust him and thus, inevitably, fall into one of his many traps. This technique, more so even than his mastery of puppet jutsus, has made him famous as a person who can control puppets and people with diabolical ease. The true trick to this technique lies in knowing the enemy; by focusing on the proper desires, nearly anyone (even the coldest shinobi) can be lured into a trap.
Sacred Dance of the Five Family
Mixed Skill (Ninjutsu/Taijutsu/Genjutsu)
~The general name for Kokoro's main series of techniques, this dance involves the Five Family Puppets, and includes a series of genjutsu abilities used by each puppet to distort the enemy's sense of feeling. Each puppet is used in conjunction with a particular genjutsu that attacks a person's particular feelings, and are based upon some of the typical characters one would find in a drama. Each of the puppets contain a part human, part animal form, and each were once siblings of Kokoro, in their human lives (hence the reason they are capable of performing jutsu). Knowing this, its no wonder that they are his favorite puppets.
Actor in the Sacred Dance - Aiko, The Unloved Child
Genjutsu/Puppet Jutsu
~One of the Five Family Puppets, Aiko is the smallest out of all of Kokoro's puppets. Her general body shape is of that of a little girl, perhaps eight or nine years old, wearing a raggedy dress. Her face however is elongated at the nose, and her long, dirty hair seems to stand up slightly as he runs back over her head, reaching down to the ground. At first sight, the connection may be unclear, but her form has been mixed with that of a porcupine, and her physical abilities are as such. The 'hair' on her head is actually made of thousands of long needles, and her body folds together neatly into a ball, turning her into a terrifying weapon that can be thrown about an area at high speeds. Her torso and lower body can be dislocated as well, with portions of the 'hair' attatched to them, allowing her to be used as multiple weapons. Some of the needles attatched to her head can also be fired off of her main body, making it excellent for suprise attacks after the enemy believes they have managed to escape.
Aiko's genjutsu technique is one that attacks a person's desire to help. During the genjutsu, her body seems to take the form of a normal little girl, worn down and terribly injured, asking for help, while the enemy's guilt and kindness are seemingly amplified within them suddenly. Those who approach her face a terrible suprise when she snuggles up close to them and buries her head in their chest, allowing her true form to suddenly curl up and cause devestating damage to the enemy.
Actor in the Sacred Dance - Zentori, The Divine Intervention
Genjutsu/Puppet Jutsu
~Zentori is considered to be Kokoro's most versatile puppet, even outside of the Five Family Puppets. The upper half of his head remains in the shape of a normal person (a young man in his teens with long white hair), as does the bulk of his body, while the lower half of his face has been violently sharpened into a long beak. Two sets of wings are attatched to his back, an upper and lower set of equal size (reaching out about 4 feet on each side), giving him a bird-like demeanor. On the center of his back, between the wings, is a large circular attatchment, which Kokoro often uses to stand upon to elevate himself. While Zentori can't remain airborne for very long, he can glide a considerable distance, and is often very effective for making a retreat or a rushing attack. The individual feathers on Zentori's wings are actually double edged blades, that can be adjusted to turn at an angle while he glides, enabling fly-by attacks that can be very devastating. The compartment on his stomach contains a large mesh net that can be dropped in mid air to trap oppenents below, while a compartment on his chest contains a number of small explosives (about twenty) that can be dropped in mid flight as well, creating a wave of destruction in his wake.
Zentori's genjutsu affects a person's desire for divine interventioin in their lives. The affected person sees him as an angel descending upon them, arms spread, coming to their aid. Those who falter beneath the technique and accept the embrace will find themselves torn apart by the many blades of of Zentori's wings as he closes his death-filled embrace upon them.
Actor in the Sacred Dance - Tsume, The Warrior
Genjutsu/Puppet Jutsu
~Tsume is, overall, Kokoro's most combative puppet, and is often saved for more drastic situations. His face is also one of the most normal of the group, only distorted by a long and wide snout, and a short pair of ears that sit atop his head, surrounded by black, spikey hair. He is the largest of the group (standing about 7' tall), and paired with these attributes and the ridiculously long claws attatched to his hands, it becomes clear that his form has been meshed with that of a bear. The claws on his hands are each about a foot, one per finger, and his wrist joints are particularly mishapen compared to the others so that his hands can rotate at very high speeds, turning his already terrible weapons into sharp drills that are nearly unstopable. His feet are made of large iron balls and are attatched to his body through lengths of chain that coil up inside of his bulky legs, allowing them to be hurled outward when kicking motions are performed, whipped around, and then returned. These balls can also be detatched from the chains, and contain poison gas that is leaked out from the attatchment point when this happens, forcing enemies to vacate the area. Not only that, but a common strategy is also to use the chains once used to attatch the feet for capturing enemies and dragging them towards Tsume, allowing him to make good use of his spinning claws.
Tsume's genjutsu targets depression within a person, enhanching their desire to fade away and become something else, other than themselves. Often times (though not necessarily) the technique will make use of a basic earth move, such as the Headhunter technique, to send Tsume beneath the ground, enabling him to grab a person suddenly and drag them to their death below as their minds falter and they feel themselves slowly fading into the ground.
Actor in the Sacred Dance - Rindou, The Wanderer
Genjutsu/Puppet Jutsu
~Rindou, another particularly large puppet in the set, boasts a form of considerable uniqueness. The upper half of his human head has been spared (from the nose up) and built upon the top of an alligator-like snout, bald as it was in life. His body blow this contains a very hybird form, with human arms, thick gator back legs, and a long, spike covered tail, partially covered by the long, open coat worn over his body (sleeveless, oddly enough). A mechanism inside his mouth is attatched to a supply of water stored in his chest compartment, allowing him to fire water from his mouth, both in spead out waves and concentrated streams. The hinges in his mouth allow it to open to the point of being almost 180 degrees, and a number of sharp teeth line his jaws, making it quite the death trap. His tail, also a violent weapon (roughly 5 feet long) is covered in similar spikes, and can be used not only as a moderately short range weapon, as well as a painful method of holding an enemy in place. Rindou's most interesting weapon however lies in his arms, upon which the shoulder joints are covered with thick spikes, about two inches long, around the perimeter of the circular contraption. When the arms are dislocated and removed, the hands interlock together, allowign them to form a bizarre, double sided mace-like weapon. While the water cannon function seeks to cover his weakness, it is undoubted that Rindou was intended as a close combat puppet.
Rindou's genjutsu affects an enemies desire to follow after something or someone they have grown attatched to. Seeking to remain with that thing or person, and to remain a part of their 'quest' as one might say, in life. Once the technique is performed, the affected person will see the blurry form of something vaguely familiar to them, walking away in the distance. If they give in and try to follow, they'll find themselves walking directly into Rindou, mouth typically wide open. This technique could be considered to be a sort of optical illusion, as what they percieve to be something moving away from them is acutally Rindou, moving towards them.
Actor in the Sacred Dance - Makaze, The Villain
Genjutsu/Puppet Jutsu
~Makaze could be considered the most unique of the Five Family Puppet set, considering that his body consists of parts from two different people, as compared to one, like the others. Two heads sit on its shoulders, one of a man and one of a woman, sharing the same hairstyle (long hair tied in a pony tail, with the bangs in the front bound together and dangling between the eyes; the male having black hair and the woman having silver hair). The body of the puppet is distorted into a half human/half wolf form, complete with a tail and clawed feet (which are shaped more like human fingers than paws). The man's head is capable of spitting flames from a mechanism in his mouth that connects to a fuel storage unit in the puppets chest, while the genjutsu ability of the puppet comes from the woman's side of the body. If one looks closely enough at the puppet, it is noticable that the left and right halves of the body (man on the right, woman on the left) seem to have been forcefully placed together, as compared to being crafted that way as most puppets are. Long blades slide out of the sides of the puppet, for run by attacks, but otherwise it has no weapons to speak of.
The true power of Makaze lies in its genjutsu, which is the most potent of the set (which typically makes up for its sheer lack of abilities otherwise). Makaze's genjutsu targets targets a person's desire for freedom and release, in a rather twisted manner. What begins as sudden enhanced desire to be free from the restraints of life (distracting one from the combat in front of them) suddenly erupts into a nightmare of shackles and torture, typically involving numbers of animals eating at the flesh of the target. The least subtle of the genjutsu techniques used by this family, as well as the most powerful, it can't be used excessively at one time due to restrictions in the puppet's ability (an after effect of meshing two bodies together).
Intense Performance: Climax of the Sacred Dance
Genjutsu/Puppet Jutsu
~The "ultimate" technique of the combined puppets, it requires a great deal of focus and skill to set in motion. By combining the genjutsu abilities of all five puppets, the targeted person succumbs to a powerful sort of euphoria, causing them to become very distant from their surroundings and the events going on around them. The illusion that they begin to witness sets them in what seems to be a large auditorium, where they can see the puppets "performing". What they're actually doing however, is attacking the enemy while they watch. This technique can be broken easily, considering that it the damage the person takes during the time they spend watching will often times snap them back to reality, said damage can also often set the fate of the fight itself. The strain of performing all this together is very high, and thus the technique is rarely used, and only when in preperation to end the fight soon after.
Master of Puppets - The Origin
Genjutsu/Puppet Jutsu
~An extremely odd puppet, all things considered, used more often than most people would realize. The puppets form is actually identical to that of Kokoro (except, you know...puppet-like). A simple genjutsu keeps its cover, allowing Kokoro to use it in combat as a replacement of himself that isn't suspicious. The puppet contains small portions of Kokoro that were removed from him as a child by his father, enabling him to use the Human Puppet technique in the process. Because the parts aren't complete, the chakra the puppet contains is very limited, but is more than sufficient for the Puppet Master Jutsu, which requires little chakra (for the strings) but relies on physical skill instead. Controlling this puppet himself, Kokoro can make the puppet control the others like a middleman, fighting effectively while still covering for himself, in case something should happen.
In the event that his cover is blown, this puppet is also equipped for combat in the most basic means. Openings in the palms allow it to fire a small supply of kunai (about 5 are stored in each arm) and a roughly equal number of poison gas bombs are stored in the head, which can be fired through the mouth. Blades stored in the elbows and knees can be extraced for close combat purposes. It should also be noted that the Puppet of Origin is capable of using Kokoro's genjutsu ability, and other jutsu, but due to the limited chakra, can't perform any of them in excess. Overall, its chakra level is roughly half of Kokoro's own.
Name: Kokoro
Alias(es): Genkugutsu no Kokoro (Kokoro of the Illusionary Puppets); Rokudaime Kazekage
Age: 20
Gender: Male
Specialty: Genjutsu and Puppet Ninjutsu
Rank: Kage
Home Village: Sunagakure
Current Village: Sunagaure
Organization: N/A
Personality: Outwardly, Kokoro often seems a bit ditzy and airheaded. Not to say that he seems stupid, but that his mind often seems to wander and he isn't particularly fond of sitting around himself either. He occasionally forgets things thanks to his absent mind, and is most often to be found apologizing to someone, somewhere (especially the council) for forgetting to do something. A lover of poety and literature in general, it isn't uncommon for him to sound a bit strange when he speaks, but he always manages to get his point across. He comes across as a very kind and down to earth sort of person, which has made him very popular among the villagers, especially considering how often he seems to get genuinely involved in the affairs of the everyday person (something he has been scolded for on more than one occasion). His kind eyes and sweet, childish demeanor can get him out of practically any form of trouble, and it isn't uncommon for people to mistake him for your average wanderer, considering that he doesn't seem like much of a shinobi. His knowledge of this however has enabled him to become quite the manipulator, and his skill with controlling people like puppets has made him famous among the ninja who know of his achievements. His calm appearance belies his ruthless nature in combat, and his desire, more than anything, to enable his home village to stand strongly amongst the shinobi groups.
Hair: Black and semi-long, it is rarely (practically never) let down. Instead, it is typically tied up into three seperate tufts, two on the right side of his head (front and back, both on top of his head as compared to the side or back) and one on the left side in the direct center of the side of his head.
Eyes: Dark rings of makeup (Gaara style) encircle his soft, sand colored eyes. he has very kind eyes that seem to radiate genuine care, making Kokoro rather popular (especially with the ladies). No matter what, he always seems interested in what another person is saying, and a look from him tends to give the impression that everything is taken care of. His eyes are, perhaps, the most manipulative tools in his posession.
Height: 5'9"
Weight: 120 lbs.
Clothes:When on particular business, Kokoro wears the traditional robes of the Kages (though he blissfully "forgets" his hat everytime). The outfit consists of a simple, flowing white robe, left open to expose deep blue colored pants and shirt, with a white sash seperating them. A white, scarf-like sash is typically worn around the neck as well, covering the collar of the robe. Otherwise, Kokoro dresses very similarly (perhaps why he doesn't mind the dress robes so much) in a set of sand colored robes with similar white sashes around his waist and neck. His sandals and gloves (fingerless) are black, as is his nailpolish of choice. Typically carries a small satchel for various equipment with him, worn across his left shoulder so that it hangs on his right side. A simple, but efficient outfit that Kokoro has grown rather fond of for its comfort and mobility.
General Appearance: Beneath the lengthy robes he always wears, Kokoro sports an array of scars, all of which seem very clean and clear, as though self or medically induced. The most notable of them are the large, X shaped scar over his head (hidden by hair), the wide gashes that fit neatly between each of his his ribs, and the missing strip of flesh over his spine, where a prosthetic metal contraption seems to have either replaced, or been added atop, the original bone. Few have ever seen most of these scars and even less of them ever truly learned the stories of them.
Otherwise, in general, Kokoro seems to be a very kind and likable person, very childlike and inquisitive. His looks are very feminine (especially thanks to his spikey set of pony-tail like tufts) and his body is very lean; not particularly muscular like most shinobi (which is common among puppet users and genjutsu users alike). Very approachable and easy to talk to, one would hardly label him as such a high ranking ninja on sight, or even by talking with him. Something that Kokoro doesn't mind using to his advantage, when need be.
Random Information
Birthday: December 10th
Favorite Food(s): Enjoys fruits and anything with a fruity flavor. Particularly fond of jellies and jams.
Least Favorite Food(s): Cheese
High School RP: Senior (Drama Club President)
Biography
Family History: Both sides of Kokoro's family have long, respected histories as shinobi of standing within Sunagakure. His father, a man named Makoto, hailed from a long line of Puppet Masters, while his mother, a woman named Takaze, was a member of a famous clan of genjutsu users. Both clans could date their history back to the founding of the village (Makoto's clan was even considered to be one of the originators of the Puppet Technique) and so they were highly honored amongst the villagers. Makoto and Takaze were paired together upon finishing their time in the Ninja Academy, and the years they spent working together led to a relationship that ran far deeper than mere team mates. After they had both achieved the rank of Jounin, they announced their plans for marriage to their families, who were thrilled (more at the concept of strengthening their standing in the village than anything else). Soon after they were married, Takaze became pregnant with her first child, a big, healthy boy that they named Tsume. He was followed, in order, by another pair of boys named Rindou and Zentori, and a little girl named Aiko. There was a four year gap between Tsume and the twins, and another six year gap between them and Aiko. Together, the family lived peacefully, each of the children healthy and happy. It was until their youngest had reached the age of eight that things began to change.
On the surface, everything seemed well, and theirs was a family much loved and respected amongst the villagers. But unlike Takaze, who had retired from combat to raise their family, Makoto had remained among the active shinobi ranks. Though things could be rocky with his absences, all had gone well through the previous years, but over time Makoto and Takaze began to grow distant. Makoto seemed troubled when he would return, his mind unstable after years of conflict and lost allies. He would become enraged sometimes for no reason, lashing out at the children and his wife before storming off into the night. In time, Takaze began to feel that she had to escape her husband, and a certain other man had agreed to help her. In the meantime, he had also gotten her pregnant...
Takaze's final child, Kokoro, was born on the night that would also be the death of most of his family. Makoto, having returned from another series of missions, came home distraught, and discovering his wife having now borne another child (one that he knew wasn't his) he couldn't contain himself. Once the doctors had left, Makoto came to his wife, taking the young child from her and placing him in another room. He then returned and murdered his resting wife, slitting her throat as she slept. The events that followed have been considered by many to be one of the most violent crimes ever commited within the walls of Sunagakure.
Telling the other children that their mother had gone to the doctor's to rest for a few days (by the time the other family members discovered she was missing, it was already too late), Makoto used his free time to use the forbidden Human Puppet Technique to turn his wife's body into a puppet; one that could retain the jutsu that she commanded in life. Once it was complete, Makoto took this twisted shell of a mother into the rooms of his sleeping children (each now into their teens, but for little Aiko and Kokoro) and proceeded to will her genjutsu upon them, giving them nightmares of animals devouring them as they struggled for freedom. As they struggled, their father killed each of them in turn, leaving them to bleed out where they slept. Only the youngest was spared.
Gathering the bodies of his children, Makoto did to them what he had done to their mother; and in time, each became a puppet for their father's twisted new desires. Their forms were purposefully distorted to match the animals that he had forced into their dreams the night of their deaths (the reasons why, one can only guess) and once each was complete, Makoto took them and his wife's last, illegitimate child, and made to flee the village. But the authorities had already become suspicious, as had Takaze's lover, and before Makoto could escape, he was confronted. The puppets under his control were more than enough proof for them to act; but ultimately, they weren't able to stop him. Her lover killed, and several ANBU injured, Makoto managed to escape, having lost an arm in the process. Outside of the village, he had the stolen child carried in the arms of his puppet mother until they reached the hideaway that would be the boy's home for the next fourteen years. Over those years, Makoto trained the boy and raised him as his own, treating him better than one might have expected from a man so crazed to have commited murder on his own children. But Kokoro had become his life; his world. And there was nothing more that he wanted than to see this child become the strongest.
Over the years, Makoto had slowly begun the process of turning himself into a puppet, giving instructions to Kokoro as to how the process worked and what to do with his body once everything was complete. He had even taken parts from the boy himself (leaving an array of scars) to teach him firsthand how the technique worked. By the time Kokoro was fourteen, his "father" determined that he had learned enough, and so the final stages of the transformation were implemented. Leaving his "son" alone in the desert, Makoto died with a smile on his face and tears in his eyes; Hoping with all his heart that his son would understand why he had done the things that he did...
Character History: From the earliest point that Kokoro can remember, it had always been simply him and the man he knew as his father. The two of them lived a relatively peaceful life on the outskirts of the Country of Wind, where they took care of themselves through farming what few crops could be reasonably grown in the tough climate. Kokoro's father took great care of him, and trained him in the ways of life, ninjutsu, and self preservation. It wasn't until Kokoro reached the age of fourteen that he had any human contact outside of what he had with his father. That is to say, if you don't count the puppets...
The puppets that Kokoro grew up with became like family to him, in spite of their obvious lack of life. When he was old enough to speak and understand such things, his father sat him down and him the tale behind the puppets, and how in life, each of them had been a member of his family. Of course, Kokoro never learned the sad story of his mother's infidelity or his father's murderous actions. What he was told was simply that his mother and siblings had done bad things and had to be killed. His father told him that it had saddened him greatly, and that he had made puppets of them so that they could always be with him, because he loved them very much. The topic was never brought up again between the two in their time together, and Kokoro has never expressed much interest in further pursuing the story. He trusted his father.
Because his father was missing an arm, the method that he used to teach Kokoro the Puppet Master style of fighting was a bit unique; taking parts from his son at a young age, he made a new puppet that would capable of using his son's jutsu. Using that as a go between, he was able to manipulate objects using ten chakra strings (one for each finger on the puppet) instead of just five (on his own solitary hand). While this still proved difficult, the concept worked well enough for teaching, and became the heart and soul of Kokoro's fighting style. Using five puppets only, the task of actually controlling them could be simplified by using all ten fingers, or broke down to using them one per finger, so that other strings could be used for other tasks, thus for more effective use of each tool. The training was long and rigorous, but Kokoro was more than content with his life with his father and the puppets. It was uneventful until the time of Kokoro's fourteenth birthday.
By that time, his father had already begun work on turning himself into a puppet as he had the rest of his family. Teaching his son the process, he instructed him as to how he wanted his body to be combined with the puppet body of his mother, so that they could remain together. Touched by the poeticness of it, Kokoro agreed to do so. Before they were done, his father instructed him to where a scroll he had written lay hidden, and how he was to take it to Sunagakure and present it to them. Everything else would be taken care of, he told his son. With a smile and tears in his eyes, the two finished the process, leaving the young boy alone in the desert...
After spending time to finish the combination of his parents' puppets, Kokoro took what he needed, and the scroll, and set off for Sunagakure. When he arrived, he presented the scroll to the gatekeepers, and waited to see what would happen. They whispered amongst themselves and one took him in while the other was sent to fetch the Kazekage, currently Godaime. Understanding his origins, he was permitted to stay in the village, where he would be tested for ranking as a shinobi. It was, however, only days later that the Great War began to swell and the Kazekage was killed. The chaos and turmoil that overtook the village lead to a call to arms that quickly thrust Kokoro into the ranks of ANBU, as many other shinobi were, mainly for the sake of having soldiers; many of them were untested and thus perished senslessly in combat.
His time in the ANBU of Suna was well spent however, as Kokoro quickly became famous throughout the village and even the world in general for his skill. He fought in several major battles, and was highly honored for his abilities, earning him the nickname of Genkugutsu no Kokoro, or Kokoro of the Illusionary Puppets. By the time he was eighteen, the war had died down, but the effects of it on the village still remained. The council that had been ruling in place of the Kazekage (there had been no time or candidates before this) finally were able to step back and elect a new leader. And so, still relatively young, Kokoro came to be known as Rokudaime Kazekage.
In the two years since then, the village has begun prospering again, though the many conflicts from the past have kept them from forming any solid treaties with other villages, as they once had. Hoping to bring strength and peace to the village again, Kokoro has worked hard as Kazekage, and has become well favored amongst the villagers.
Combat Information
Weapons: Puppets (explained below in Jutsu)
Extra Items: Nin-Wire, Mesh Net, Smoke and Poison Cloud Bombs
Scrolls: 2 Scrolls; 1st containing the Five Family Puppets; and the 2nd containing the so called, "Puppet of Origin"
Kekkei Genkai: N/A
Jutsu
Replication Technique
Ninjutsu
~ The ninja creates a replica of themselves. The replica disappears on contact but can be useful in causing distractions or setting up complex attack maneuvers.
Replacement Technique
Ninjutsu
~Changes the ninja's position with a nearby in-animate object. Usually a section of log. Higher skilled people can exchange themselves with another person or other such things. Useful for dodging techniques.
Immitation Technique
Genjutsu
~The ninja creates the illusion that they are another person or object. Can be dispelled by the Kai technique.
Kai - Release
Genjutsu
~A simple technique that allows the user to break enemy genjutsu by focusing their chakra to disturb the other's flow. Can only be performed on jutsu within reasonable range of the user's skill.
Escape Technique
Ninjutsu
~A very simple technique that allows the user to escape from ropes or bindings.
False Place Technique
Genjutsu
~A simple Genjutsu technique which changes the appearance of a nearby object.
Art of the Puppet Master
Ninjutsu/Taijutsu
~The Art of the Puppet Master was created in order to convert a form of entertainment into a style of combat. The technique utilizes strings of chakra extending from the user's fingers to control a puppet's movements. Those who can effectively use this ability are rare, but once mastered the user can hide in a safe location while his puppet does the work for him. Skilled puppeteers are able to manipulate multiple puppets simultaneously. These chakra strings also allow puppeteers to manipulate other people or objects, controlling their movements to help or hinder their progress in battle.
Forbidden Art: Dance of the Human Puppet
Ninjutsu
~A method of creating puppets that has long been forbidden to use within the village, very few learn of its performance. Taking the body of a human person just as they are dying and hollowing it out, one can create a puppet from them that is capable of using the jutsus that the person could use while they were alive, thus making them much more powerful than an average puppet. It should be noted that while Kokoro is familiar with the technique, he has not actually performed it (nor does he intend to).
Summoning Technique
Ninjutsu
~ A common shinobi technique that allows the user to summon animals, weapons, people, or other objects through the use of scrolls or other special items. A blood contract is typically required to use these technques properly, though a scroll isn't always necessary.
Headhunter Technique
Ninjutsu
~A fairly basic earth style ninjutsu, the user can project themselves or, in Kokoro's case, one of his puppets beneath the ground for a sneak attack on an enemy from below.
Vivid Illusion - Consuming Desire
Genjutsu
~A genjutsu style passed down Kokoro's mother's side of the family that targets the desires of a person, amplifying them to a point that causes hallucinations and poor judgement. The real power of the technique lies in its ability to affect the actual mindframe of a person, as compared to causing straightforward illusions, thus often making it difficult to tell that the technique is being used. The particular desire targeted differs amongst each person in the family, and thus can cause a variety of affects (described in detail for puppets below). Kokoro's personal version of this technique targets a person's desire for understanding and consideration from others. He can amplify a person's desire to for others to be concerned with their problems, as well as their understanding that he does so, leading them to trust him and thus, inevitably, fall into one of his many traps. This technique, more so even than his mastery of puppet jutsus, has made him famous as a person who can control puppets and people with diabolical ease. The true trick to this technique lies in knowing the enemy; by focusing on the proper desires, nearly anyone (even the coldest shinobi) can be lured into a trap.
Sacred Dance of the Five Family
Mixed Skill (Ninjutsu/Taijutsu/Genjutsu)
~The general name for Kokoro's main series of techniques, this dance involves the Five Family Puppets, and includes a series of genjutsu abilities used by each puppet to distort the enemy's sense of feeling. Each puppet is used in conjunction with a particular genjutsu that attacks a person's particular feelings, and are based upon some of the typical characters one would find in a drama. Each of the puppets contain a part human, part animal form, and each were once siblings of Kokoro, in their human lives (hence the reason they are capable of performing jutsu). Knowing this, its no wonder that they are his favorite puppets.
Actor in the Sacred Dance - Aiko, The Unloved Child
Genjutsu/Puppet Jutsu
~One of the Five Family Puppets, Aiko is the smallest out of all of Kokoro's puppets. Her general body shape is of that of a little girl, perhaps eight or nine years old, wearing a raggedy dress. Her face however is elongated at the nose, and her long, dirty hair seems to stand up slightly as he runs back over her head, reaching down to the ground. At first sight, the connection may be unclear, but her form has been mixed with that of a porcupine, and her physical abilities are as such. The 'hair' on her head is actually made of thousands of long needles, and her body folds together neatly into a ball, turning her into a terrifying weapon that can be thrown about an area at high speeds. Her torso and lower body can be dislocated as well, with portions of the 'hair' attatched to them, allowing her to be used as multiple weapons. Some of the needles attatched to her head can also be fired off of her main body, making it excellent for suprise attacks after the enemy believes they have managed to escape.
Aiko's genjutsu technique is one that attacks a person's desire to help. During the genjutsu, her body seems to take the form of a normal little girl, worn down and terribly injured, asking for help, while the enemy's guilt and kindness are seemingly amplified within them suddenly. Those who approach her face a terrible suprise when she snuggles up close to them and buries her head in their chest, allowing her true form to suddenly curl up and cause devestating damage to the enemy.
Actor in the Sacred Dance - Zentori, The Divine Intervention
Genjutsu/Puppet Jutsu
~Zentori is considered to be Kokoro's most versatile puppet, even outside of the Five Family Puppets. The upper half of his head remains in the shape of a normal person (a young man in his teens with long white hair), as does the bulk of his body, while the lower half of his face has been violently sharpened into a long beak. Two sets of wings are attatched to his back, an upper and lower set of equal size (reaching out about 4 feet on each side), giving him a bird-like demeanor. On the center of his back, between the wings, is a large circular attatchment, which Kokoro often uses to stand upon to elevate himself. While Zentori can't remain airborne for very long, he can glide a considerable distance, and is often very effective for making a retreat or a rushing attack. The individual feathers on Zentori's wings are actually double edged blades, that can be adjusted to turn at an angle while he glides, enabling fly-by attacks that can be very devastating. The compartment on his stomach contains a large mesh net that can be dropped in mid air to trap oppenents below, while a compartment on his chest contains a number of small explosives (about twenty) that can be dropped in mid flight as well, creating a wave of destruction in his wake.
Zentori's genjutsu affects a person's desire for divine interventioin in their lives. The affected person sees him as an angel descending upon them, arms spread, coming to their aid. Those who falter beneath the technique and accept the embrace will find themselves torn apart by the many blades of of Zentori's wings as he closes his death-filled embrace upon them.
Actor in the Sacred Dance - Tsume, The Warrior
Genjutsu/Puppet Jutsu
~Tsume is, overall, Kokoro's most combative puppet, and is often saved for more drastic situations. His face is also one of the most normal of the group, only distorted by a long and wide snout, and a short pair of ears that sit atop his head, surrounded by black, spikey hair. He is the largest of the group (standing about 7' tall), and paired with these attributes and the ridiculously long claws attatched to his hands, it becomes clear that his form has been meshed with that of a bear. The claws on his hands are each about a foot, one per finger, and his wrist joints are particularly mishapen compared to the others so that his hands can rotate at very high speeds, turning his already terrible weapons into sharp drills that are nearly unstopable. His feet are made of large iron balls and are attatched to his body through lengths of chain that coil up inside of his bulky legs, allowing them to be hurled outward when kicking motions are performed, whipped around, and then returned. These balls can also be detatched from the chains, and contain poison gas that is leaked out from the attatchment point when this happens, forcing enemies to vacate the area. Not only that, but a common strategy is also to use the chains once used to attatch the feet for capturing enemies and dragging them towards Tsume, allowing him to make good use of his spinning claws.
Tsume's genjutsu targets depression within a person, enhanching their desire to fade away and become something else, other than themselves. Often times (though not necessarily) the technique will make use of a basic earth move, such as the Headhunter technique, to send Tsume beneath the ground, enabling him to grab a person suddenly and drag them to their death below as their minds falter and they feel themselves slowly fading into the ground.
Actor in the Sacred Dance - Rindou, The Wanderer
Genjutsu/Puppet Jutsu
~Rindou, another particularly large puppet in the set, boasts a form of considerable uniqueness. The upper half of his human head has been spared (from the nose up) and built upon the top of an alligator-like snout, bald as it was in life. His body blow this contains a very hybird form, with human arms, thick gator back legs, and a long, spike covered tail, partially covered by the long, open coat worn over his body (sleeveless, oddly enough). A mechanism inside his mouth is attatched to a supply of water stored in his chest compartment, allowing him to fire water from his mouth, both in spead out waves and concentrated streams. The hinges in his mouth allow it to open to the point of being almost 180 degrees, and a number of sharp teeth line his jaws, making it quite the death trap. His tail, also a violent weapon (roughly 5 feet long) is covered in similar spikes, and can be used not only as a moderately short range weapon, as well as a painful method of holding an enemy in place. Rindou's most interesting weapon however lies in his arms, upon which the shoulder joints are covered with thick spikes, about two inches long, around the perimeter of the circular contraption. When the arms are dislocated and removed, the hands interlock together, allowign them to form a bizarre, double sided mace-like weapon. While the water cannon function seeks to cover his weakness, it is undoubted that Rindou was intended as a close combat puppet.
Rindou's genjutsu affects an enemies desire to follow after something or someone they have grown attatched to. Seeking to remain with that thing or person, and to remain a part of their 'quest' as one might say, in life. Once the technique is performed, the affected person will see the blurry form of something vaguely familiar to them, walking away in the distance. If they give in and try to follow, they'll find themselves walking directly into Rindou, mouth typically wide open. This technique could be considered to be a sort of optical illusion, as what they percieve to be something moving away from them is acutally Rindou, moving towards them.
Actor in the Sacred Dance - Makaze, The Villain
Genjutsu/Puppet Jutsu
~Makaze could be considered the most unique of the Five Family Puppet set, considering that his body consists of parts from two different people, as compared to one, like the others. Two heads sit on its shoulders, one of a man and one of a woman, sharing the same hairstyle (long hair tied in a pony tail, with the bangs in the front bound together and dangling between the eyes; the male having black hair and the woman having silver hair). The body of the puppet is distorted into a half human/half wolf form, complete with a tail and clawed feet (which are shaped more like human fingers than paws). The man's head is capable of spitting flames from a mechanism in his mouth that connects to a fuel storage unit in the puppets chest, while the genjutsu ability of the puppet comes from the woman's side of the body. If one looks closely enough at the puppet, it is noticable that the left and right halves of the body (man on the right, woman on the left) seem to have been forcefully placed together, as compared to being crafted that way as most puppets are. Long blades slide out of the sides of the puppet, for run by attacks, but otherwise it has no weapons to speak of.
The true power of Makaze lies in its genjutsu, which is the most potent of the set (which typically makes up for its sheer lack of abilities otherwise). Makaze's genjutsu targets targets a person's desire for freedom and release, in a rather twisted manner. What begins as sudden enhanced desire to be free from the restraints of life (distracting one from the combat in front of them) suddenly erupts into a nightmare of shackles and torture, typically involving numbers of animals eating at the flesh of the target. The least subtle of the genjutsu techniques used by this family, as well as the most powerful, it can't be used excessively at one time due to restrictions in the puppet's ability (an after effect of meshing two bodies together).
Intense Performance: Climax of the Sacred Dance
Genjutsu/Puppet Jutsu
~The "ultimate" technique of the combined puppets, it requires a great deal of focus and skill to set in motion. By combining the genjutsu abilities of all five puppets, the targeted person succumbs to a powerful sort of euphoria, causing them to become very distant from their surroundings and the events going on around them. The illusion that they begin to witness sets them in what seems to be a large auditorium, where they can see the puppets "performing". What they're actually doing however, is attacking the enemy while they watch. This technique can be broken easily, considering that it the damage the person takes during the time they spend watching will often times snap them back to reality, said damage can also often set the fate of the fight itself. The strain of performing all this together is very high, and thus the technique is rarely used, and only when in preperation to end the fight soon after.
Master of Puppets - The Origin
Genjutsu/Puppet Jutsu
~An extremely odd puppet, all things considered, used more often than most people would realize. The puppets form is actually identical to that of Kokoro (except, you know...puppet-like). A simple genjutsu keeps its cover, allowing Kokoro to use it in combat as a replacement of himself that isn't suspicious. The puppet contains small portions of Kokoro that were removed from him as a child by his father, enabling him to use the Human Puppet technique in the process. Because the parts aren't complete, the chakra the puppet contains is very limited, but is more than sufficient for the Puppet Master Jutsu, which requires little chakra (for the strings) but relies on physical skill instead. Controlling this puppet himself, Kokoro can make the puppet control the others like a middleman, fighting effectively while still covering for himself, in case something should happen.
In the event that his cover is blown, this puppet is also equipped for combat in the most basic means. Openings in the palms allow it to fire a small supply of kunai (about 5 are stored in each arm) and a roughly equal number of poison gas bombs are stored in the head, which can be fired through the mouth. Blades stored in the elbows and knees can be extraced for close combat purposes. It should also be noted that the Puppet of Origin is capable of using Kokoro's genjutsu ability, and other jutsu, but due to the limited chakra, can't perform any of them in excess. Overall, its chakra level is roughly half of Kokoro's own.