The Grand Empire has ruled Tsukishima for thousands of years, maintaining the Bakuhatsu dynasty for generations. Their current ruler, Emperor Kaoru Bakuhatsu, has recently brought the empire to new heights by accepting the trade agreements of a foreign baron, focusing newfound imperial funds on developing technology such as the steam drill, gatling gun, and zeppelin. This is believed to have extended man's domain and power further than it had been intended to be by the gods, which has caused a recent uprising of demons taking corporeal forms and killing villagers in scores.

Though this supernatural insurrection has been all but denied by shoguns and other government officials, the Grand Imperial Military has been stationed in many villages for seemingly no reason, though many suspect Emperor Kaoru has begun to take notice. Although areas occupied by the Grand Imperial Military are kept safe from demons and spirits, the soldiers and samurai employed by the government are essentially immune to most laws, and are known for their wanton cruelty, stealing goods and women alike from villages with impunity. This lack of transparency on the empire's part and anger towards the occupying army has caused a rift in Tsukishima's society, with more and more citizens fed up with the empire and turning to bandit groups to protect them. However, as the bandit groups usually require extortion payments and are oftentimes as bad as the occupying soldiers, the lives of peasants are currently much harder than they ever have been.

Our characters have all recently been imprisoned, and have nothing in common but being in the same place at the same time -- A wagon currently on its way to Okinakabe prison. They are Marasaru Hisao, a homeless vagrant arrested for attempting to rob a nobleman, Bokkon Ibiki, a swordsman mistaken for his political insurgent twin, and your character(s).

Our story takes place in Tsukishima, a crescent-shaped continent about the size of Europe, ruled by The Grand Empire, which is as faceless and evil as it sounds. As is the case with many anime settings, the country is ambiguously Japanese without actually being set in Japan -- Characters and locations have Japanese names, spirituality is divided by nameless Buddhist and Shinto religions, and concepts like honor and filial piety have a place in everyday life. The setting will be split between rural and urban villages, with smaller villages having hand-pumped water and traditional architecture (Rice paper walls, tatami mats, squat toilets) while more urban villages have electricity, plumbing, and western-style beds.

Though one of the themes of the RP is the world's rapid industrialization, keep in mind that there aren't any crazy cyberpunk neon cities. At most, the level of the tech in our world is the same as that of the Naruto universe; In the most urban areas, Electricity, pre-packaged food, plastic, gunpowder, and steam-powered machinery are commonplace. Gatling guns and cannons exist, though only the highest order of the Grand Imperial Army, the Royal Guard, have access to them. Aside from the setting's vaguely steampunk technology, Tsukishima has a few other anachronisms -- Borrowing from inspirations like Samurai Champloo and Afro Samurai, hip hop exists in our world, although it is rudimentary and played with the setting's available instruments. Graffiti is common in urban districts, though it is done with calligraphy brushes and paint brushes alike, and big cities usually have a few warrior-poets reciting lyrics into the butt of their katana at sake houses and brothels, if you know where to find them. Otherwise, culture in Tsukishima is a more or less that of Edo era Japan.

In terms of realism, try to consider our world low-fantasy -- Onis, Kappas, Yokai, and all other mythical creatures are still mythical, and dragons are only ever seen in papery forms at parades. Only recently have supernatural occurrences started happening, and that's limited to demons and other vengeful spirits like that. Magic is performed by the highest-ranking priests and monks, and is usually limited to healing wounds, ki strikes, and that cool levitating meditation trick. Otherwise, if you want to kill somebody, you're going to use a sword and not a magic missile.

Our RP will be about as dark as the average 90's anime, and will borrow from a few (Most notably, Ninja Scroll). Graphic, if unrealistic violence will be the norm, whereas other dark themes will mostly take the side stage, or be balanced out to make the world less of a complete crapsack. A member of the group is an alcoholic, but he's the goofy kind. Soldiers are said to rape peasants, but it is never shown in the RP. The group encounters a drug-addicted prostitute, but she turns out to be a man in drag with a deep voice, and so on.

Additionally, though the RP will have realistic occurrences and consequences, I'll admit that the main group will have a level of plot armor. Feel free to be a bit more brave or outspoken in your actions, as I guarantee you won't die. I won't guarantee nobody's getting maimed or psychologically damaged if they take unnecessary risks, but know from here on out that your character won't die, which seems a good segway to mention all the lighter elements of the RP -- As with the thematic sources, comedic relief will be fairly frequent, so don't worry about the world getting too depressing. Anime themes like the The Power of Friendship® and defiance against an evil authority will be invoked, and we may pick up a cute animal sidekick or two on the way.

1. Aside from just being an RP, I want this to be a long term group of homies we can all get to know and talk to about character development, plot arcs, and just general shit-shooting. In other words, don't join this RP if you're not looking for some cool pals to talk to on the internet, or if you're gonna be rude.

2. Try to not use a well-known anime character as your character's image. In the same vein, try not to go with tropes other characters hit, or having a similar backstory to the other characters. I guess rule two is just "Be original".

3. Be cool like the Fonz. There's only three of us, so it's unlikely there'll be any in-fighting, but in the event that there is, try to be mature and respectful to one another. I created this RP with having a tight-knit group of friends, so always assume the best of one another, try to give criticism in a polite fashion, etc. Don't be a dick.

4. This RP is about character development first and foremost, while the other half is plot advancement. Your character should slowly change over time, for better or worse. This can include cool new abilities, but should also be psychological in nature. Delve deep into personalities and experiences.

5. Last but not least, have fun!

Most countries date their founding on the arrival of foreign invaders -- Not Tsukishima. For thousands upon thousands of years, the Tsukihito have met every invading force with the same swords that they pass down through generations. The island nation has had their ruling family, the Bakuhatsu family, for as long as they have recorded their history through paintings and the written word -- which they had developed sooner than other cultures -- and most likely longer than even that. In the same vein, Tsukishima has only ever had two religions, which have both simply been called The Sacred Path and The Holy Path for as long as anyone remembers. The Sacred Path is originally from Seung Yua, and follows the teachings of The Enlightened One, who is also a spiritual figure in its predecessor, The Divine Path, whereas The Holy Path is a polytheistic animist religion native to Tsukishima.

Although the Bakuhatsu family rules by way of divine right, daimyō and shoguns are technically elected positions, though it is common knowledge that they are systematically kept in place through filial ties, bribery, and self-serving laws. Before every election, the victor is already common knowledge. There are many shoguns, with the title being about equivalent to a lord, though there are only four daimyō and obviously, one emperor. Each shogun has control of a few thousand, sometimes up to ten thousand, citizens. Each daimyō controls a few hundred thousand citizens, whereas the emperor controls the country, which has approximately one million citizens. Shogun and daimyō occasionally involve themselves in disputes over their land, taxation, borders, and other squabbles. These disputes have given birth to Tsukishima's samurai and shinobi castes.

Tsukishima has two neighboring countries -- Goristan and Seung Yua. Goristan is the larger of the two, spanning further than Tsukishima's fleet has sailed. Goristan has a generally cold relationship with Tsukishima -- they have no trade or immigration with Tsukishima, having a mountainous coast, though there are very rare immigrants who are mostly fleeing persecution for various crimes. They are called Goristi, and have appearances ranging from European to Eurasian. Aside from this, little is known about their country other than that they are seen as inferior to Tsukihito, having tried to invade unsuccessfully three times. They are thought to be loud, rude, and greedy. It is the setting's equivalent to China and Russia.

Seung Yua is a small island nation near Tsukishima's southeastern coast. It is largely comprised of its own ethnic group, the Seungyo, though its eastern coast has a thriving population of immigrants from Tsukishima. It is a relatively poor country, and its people are generally seen as dirty, smelly, unintelligent, and clearly inferior to Tsukishima. Though it carries a great number of negative stereotypes, it is also seen as mystical, exotic, and spiritual, due to it being the birthplace of The Sacred Path and its predecessor, the Divine Path. It is believed that the founder of The Sacred Path was born in Seung Yua and came by way of raft. It is the setting's equivalent to India, Indonesia, and Vietnam.

Are you still accepting?
Yes! Currently two positions are filled, I'd like either three or four, so there are 1-2 slots available.

What are the thematic inspirations?
Thank you for asking, italicized text! Samurai Champloo is the biggest inspiration, as most of the RP planning revolved around the episodic adventures of a small group of outlaws. Afro Samurai's unrealistically skilled eccentric swordsmen also play a big part in Hagakure, and so does Naruto's identity-based-on-fighting-style aspect. Hagakure will hopefully evolve past its inspirations and into its own thing depending on which way everybody wants to take it.

Where's the character sheet?

Name
Bokkon Ibiki, The Striking Squid
_{Bokkon - Handwriting, letters written in ink.}

Age
22

Totem
Squid

Appearance
Ibiki would love to say that he's wildly handsome or rugged. He would like to stand as a pillar of stoic masculinity, ugly muscle ruined by a lifetime of hard work with the humility and wisdom to wear it proudly. This is not, however, at all the case.

Ibiki is...pretty. He certainly doesn't play up the fact, and certainly doesn't take much pride in it, but his attention to hygiene and basic grooming doesn't help what was already a pretty lucky roll at the genetic lottery. His features are slim and angular, with defined if not sharp cheekbones and a tight, strong chin. His lips are soft and small, mortifying though the idea of anyone commenting on them might be, and his eyes large, dark and open. Falling to just below his ears, his inky hair curls just slightly towards his face. Though well toned and surprisingly strong, Ibiki lacks the bulk and muscle of most samurai.

That Ibiki favors softer tones and more subtle patterns similarly doesn't help his cause. It isn't that he's girly, he does after all wear his daisho, but he'd...you know. Make a good girl. If you're into that.

He, of course, is not.

Personality
Bokkon Ibiki is used to responsibility. The second of twins, as far as he's concerned he was born into his brother's mess with the understanding that somehow it was then his sworn duty to clean it up. Ibiki's top ten words are various forms of apologies--when you have a brother like Iwato, that sort of thing just kind of happens. Serious if not somber, straightforward if not idiotic, Ibiki tries very hard to act as he feels a samurai and a man should in all things. He believes sincerely that a man should do what he does with no desire for reward or recognition--that anything worth doing is worth doing for itself. A devoted student and focused learner, he approaches problems and bears down on his swordsmanship with a dedication that borders on sociopathy, partly because it's tremendously easier than admitting he's awkward as hell.

Ibiki has no idea how to deal with people. Always the serious one, always the butt of the jokes, Ibiki is painfully shy and can't quite bring himself to admit it. Iwato might be fun, gregarious, interesting, but Ibiki just...isn't, in the same way, and the fact that he doesn't understand the difference hurts him more than he'll admit. Likeable, yes, in the way that you can like a servant or a butler, but he's far too reserved to make fast friends the way his brother does and he has absolutely no idea how to deal with women. Slow to anger and all too willing to take things literally and stumble his way into a joke, he's just such an easy target that things seem happen to him that way.

That isn't, however, to say he's without backbone. Its easy to mistake a sense of duty for a lack of spine, but those that do quickly learn that there are lines you shouldn't push.

History
The second of a pair of identical twins, Bokkon Ibiki got the short end of the stick from day one. It wasn't that his parents didn't love him or loved his brother more, it's just that tradition dictated that the first child inherit title and the second upkeep the family holdings. In Ibiki's case, this meant that his brother Iwato (born two minutes earlier) was slated to uphold the Bokkon family's samurai tradition while Ibiki was expected to...well, learn accounting.

This, of course, would not do.

Ibiki had never wanted anything other than to be a samurai. He dreamed of standing alone against many on some sunlit battlefield, silent in duty and fearsome in purpose. To see his older brother, then, squander the chance he would never have was understandably frustrating for him. To watch him fumble his way through his lessons and half-ass his swordsmanship, then, was understandably insulting. It wasn't until the pair were twelve and Iwato was slated to join the prestigious Kagesame Ryuu kenjutsu dojo in town that Ibiki finally put his foot down. He took up a bokken, challenged his brother to a duel, and wiped the floor with the little brat. At least one of them had been paying attention for his lessons.

And yet, his father refused to change his mind. "Part of being a samurai is upholding tradition", his son infamously remembers him saying, as he sent his good-for-nothing oldest son to one of the finest swordsmanship schools in the Empire and made his second son learn the finer details of Imperial tax law. Life might have been very boring for him had his mother not taken mercy on the poor boy and hired him a proper tutor.

No one had heard of Ika Muchiuchi Ryuu swordsmanship, or the 'Gesokunji' who taught it; what they had heard was that he worked for room and board, which was a low enough entry price for what his mother hoped would be a good thing for her desperately frustrated son. Had she any idea the monster she was creating, she might well have opted out of it.

Ika Muchiuchi Ryuu, or the Lashing Squid style, was a joke for ninety-nine out of a hundred practitioners. It required the kind of focus, accuracy, and flexibility out of the gate that just wasn't feasible. It required boneless fluidity, total-body awareness, and an ability to commit to strikes at frankly preposterous angles. It required accepting that one's respected animal was a damn squid. But once in a blue moon opportunity knocks, and when it did Ibiki opened the doors wide. Even Gesokungi, the last remaining 'master' of the style, couldn't help but stare at the prodigy standing before him. Ibiki took to it like a fish--sorry, squid--to water, and though he didn't shirk his lessons he also went and wore the old man out after each and every one of them. He had a goal, of course, and he intended to see it through.

He was going to kick the shit out of his stupid brother and the whole damn Kagesame school.

At 22, nearly a decade after his training began, Gesokungi declared that he was ready for his final test...and disappeared, leaving behind only a fried squid of the sort one found in the Southern Markets by way of goodbye. Believing this to be a test, that he must go and find his master and prove himself worthy of the final secrets of his esoteric style, Ibiki said his goodbye's and apologies and prepared to leave...

After kicking the shit out of the Kagesame School.

What happened after that was sheer bad luck. It turns out that not only was the Kagesame School excellent for breeding swordsmen, it was also excellent at breeding revolutionaries. Ibiki arrived to challenge the senior classmate of the Kagesame school, readied himself for the duel...and was promptly arrested by the five Imperial Officers who arrived on the scene for "the revolutionary swordsman Bokkon Iwato".

"It wasn't me, officer, it was my twin brother" was about as good an excuse as you'd imagine it to be.

Strengths

The Stirking Squid
There are swordsmen, and then there are swordsmen. The kind of prodigies who become wandering legends, war heroes, or feared slayers of men, and Bokkon Ibiki has all the potential to be one of the latter. Ika Muchiuchi Ryuu kenjutsu focuses on lightning fast slashes and distance games, a technical monster nowhere near as whimsical as its moniker might make it out to be--so named, it is said, because all that the foe of a true master will see is the endless lashing strikes fanning out from their foe like the tentacles of a squid seen in the last moments of its prey. Having all but mastered the style, Ibiki has numerous ink-and-cephalopod themed strikes and attacks to rely on should specific techniques be required, and alarming prowess outside of that.

For Great Justice!
Ibiki knows what's right and what's wrong. He knows what is honorable and what is not. He knows the code of Bushido, and follows it as best he can. Though he would be the last person to call himself a saint, there is something to be said for that unassailable moral armor and its ability to inspire guilt, irritation, and various other responses in those around him. When it comes to standing up for what's right, Ibiki's usually got the Greater Good on his side.

...and taxes.
Having mastered one of the two universal certainties, Ibiki would be remiss if he let the other slide. His education in the Imperial financial system did rub off, and he's actually an embarrassingly competent accountant, seneschal, and head of house. That he'd rather 'run off and play samurai' is a significant irritation of his parents', who were actually quite counting on him taking over from their currently lackluster financier.

Weaknesses

Dames, amirite?
Ibiki is just...clueless when it comes to women. Like most men of 'chivalry' he doesn't have the first idea what most women want and tends to hold them on something of a pedestal, which can be both obnoxious and dangerous depending on the company one keeps. He is the last to suspect duplicity from a woman, the first to find flimsy excuses for poor behavior, and the last to treat them with casual familiarity.

Honor--I Haz It
There are some things a man can walk away from and some things he can't; the downside of living by a code is following it. Though he does his best to be a reasonable and intelligent individual, when it comes down to the wire Ibiki would rather go out fighting than surrender and let a true insult stand. He doesn't cut down every passerby who says something shitty to him, but a direct challenge to his swordsmanship, his master, or those he has sworn to protect just doesn't go unanswered. The irony that he follows a school with such a silly mascot is not lost on him.

Dude Looks Like a Lady!
Straight from the trope, Ibiki's just...pretty. It's awkward. Aside from the swords he wears and the cut of his yukata, a quick look at him probably won't land you the right pronoun. That he's as often as not oblivious to the issue until it comes up directly is...similarly regrettable.

Likes
Street food
Smoking
Snakes
Architecture

Dislikes
Lemon custard
Wooden sandals
Dogs
Heavy clothing

Theme
Caliber

Name
Ling Xiubao, Master of the Five Senses
_{Literal translation is “charming gem.” The title is her trademark stage name.}

Age
24

Totem
Butterfly

Appearance
Regal, exotic, flamboyant, modern—Xiubao is a living symbol of mankind's pride in its latest advancements. Regardless of the constant suspicion she tends to attract, she plays the part of a local celebrity, confident and graceful as if every aspect of her life is a show being performed. The attention of others is something she demands with the sharp tone and contrast of her clothes, which is tempered by a charismatic and genial persona. Likewise, the perfume she wears is a clingy, yet subtle musk of sandalwood and lily.

Her facial features are soft overall, the curve of her chin and cheeks shallow and her almond-shaped eyes wide. The lighter ivory tones of her skin mark her as an obvious foreigner, but her natural hair color is a mystery under the bleaching and various dyes she's used over the years. Her fingers are long and dextrous with eye-catching paint of any bright variety—usually blue.

She has a lilt of a Goristan accent that's difficult to attach to any minority from the country. Her clothes, likewise, are foreign and modern with a local touch. Her long black jacket has silvery embroidery reminiscent of oriental origin, but its sleeves are flared and its bottom opens up into a tailcoat. The coat's stark contrast is found underneath its black contours, featuring bright blue patterns reminiscent of a butterfly's wings.

She wears the same symbols in her hair—bright azure hairpins that stick out from both ears and resemble the wings of a swallowtail butterfly. On her hips is a matching blue belt, and her pants share the same silky black textures of her coat complete with the silvery embroidery and flared bottoms. Between the bright colors and brazen fashion, even more questionable is the semi-transparent blouse she wears. Its sleeves extend underneath her jacket in lacy wisps, but her midriff is fully exposed. Only her neck and breasts are covered by a more modest, opaque black material that matches the jacket.

Personality
Xiubao has more personas than most. She's played the part of actress so long that each social interaction she has is calculated and matched with whatever mannerisms suit her interests the best. On the stage, she utilizes a confident charisma that seamlessly transitions from utter seriousness to wonderment and humor, as if she surprises herself by her own feats. She demonstrates a formal geniality among those of the higher class and a more open charm when she's around the general public. She gives off the air of a cultured celebrity, conscious of varying cultural standards, languages, and accents that she can interpret and react to with precision. By herself, however, even she's not sure of exactly who she is.

Xiubao's charismatic nature leads most to assume she's talented and intelligent. While her actual depth in serious and scientific concepts is iffy at best, she calls herself a jack of all trades, using various chemical, mechanical, and sleight of hand tricks to pull off illusions. Her appearance would also lead most to think she prefers the finer things in life—and she does—but she more often makes do with a paltry salary and more humble circumstances than she allows others to believe.

Politically, Xiubao doesn't follow much of the world. She's comfortable in the grey spots of morality and nationality, affiliating herself with no particular group and exploiting both the poor and the rich in her schemes. A creature of comfort more than ambition, she tends to seek the path of least resistance—though never let it be said she hasn't been prone to a few bouts of getting too greedy for her own good.

History
“Everything interesting begins on the fringe. It could be the fringe of your local woods where the boys get up to no good, the fringe of a table shared by a family, where the toddler's cup is bound to tumble off any second, or even the fringe between you and me, where you think you're seeing everything but really only half of everything to be seen.

“Don't make such a dreadful face! I wasn't going to walk away with it. There you go, safely back on your wrist. Like I said, we like to think we're aware of everything around us, on us, within us. We're not. But that's the illusionist's secret, see. We make you think you are acutely aware of something, that it's so solid, real, and impossible to miss that—ah! Just like that, you miss it.

“Why, then, do you go about asking me who I am and where I come from? I've already managed to misdirect your attention to far more fascinating conversation. Your face is killing me! No, no, no need to break out the fists. I'll tell you something relatively related to origins.

“Once upon a... no? At least give me the pretense of a beginning! I was raised by carnies and carnie families don't have a homeland other than what happens to be under their feet at the time. We did all the things I can imagine you imagining, parading exotic animals and devices and showing off feats of physical and mystical intrigue. We made good on good seasons and survived the bad ones with sober jokes and warm company.

“And then travel started becoming unfashionable—well, dangerous. The villages were less keen to see in strangers and much, much less generous with their coin. The more modernized among you gave us actual work to perform, but I suppose we lost our appeal. Bonds were broken and we went our own ways. Guess that makes me a die-hard, being the one-man show that I am. You'll give me a home, won't you?

“No, no, bars and chains don't really do it for me. It's all a misunderstanding, I swear! I've no idea how the lady's necklace ended up in my equipment trunk, which I've told you several times now. The earrings were utterly neglected, on the ground, which I fully intended to return as soon as I learned the owner. The money was just rude to take—I earned that with the excellent entertainment I provide, and which you are enjoying free of cost.

“Ah, your hold could use a little gentleness! I suppose I've talked enough anyways.”

Strengths

Cane Fencing: Xiubao was trained to defend herself with a technique mastered by a fellow carnie. Though used for theatric purposes, she also has a practical knowledge of fighting. Cane fencing in particular uses flourishes that serve to confuse opponents and lend momentum to cuts. The thrust of the cane is made with both hands, which allows it to be used in closer quarters than that of a typical sword.

Theatrics: Xiubao's talents in trickery give her a diverse set of skills. She can chemically mix powders to produce explosives (like fireworks), sing and dance professionally, mechanically manipulate locks and ties, manipulate social situations with exceptional acting and cultural knowledge, and her legerdemain is potent enough to make thieving from pockets a breeze.

Weaknesses

Combat: She's strong—for a woman, and while she can handle a group of untrained thugs, cane fencing isn't an ideal sport against real weapons with real training behind them. With her style already largely dependent on distraction and confusion, she lacks the hard-hitting precision of a real warrior.

Foreigner: As skilled as she is with language and people, the fact that she is a blatant foreigner and a lover of modernization has won her suspicion at best and outright rejection at worst. Add to that the fact that she is a self-proclaimed illusionist and it becomes nearly impossible to find trust and decent business anywhere.

Likes
*Opera
*Gyoza
*Shadow puppets
*Gossip

Dislikes
*Limp vegetables
*Getting up early
*Swimming
*The smell of fish

Theme
Little Butterfly

Name
Matsuzaki Ryotaro, the Black Tiger
松崎良太郎
_{Covered by the Forest, Stout and Healthy Son}

Age
17

Totem
Tiger

Appearance
Ryotaro is a robust, strongly-built young man, with muscles earned from years of street fights and manual labor. He's quite tall for his age, standing a head above most of his peers, and is still growing. Given his size, his hard-cut features, and his sharp gaze, he can easily pass for a man six or seven years older than he actually is. Ryotaro's dark hair is usually worn around the sides, with a surprising amount of hair hidden on top under his cap. He almost never wears a shirt, giving his skin a rich tan, and exposing at all times what appears to be a scar left by some sort of claws beast that runs down his chest. His left arm is tattooed down its length in the traditional style of the Yakuza, but he has no other tattoos. Ryotaro's general attire comprises of dark, loose trousers, a pair of geta sandals, various accessories such as belts, bracelets and earrings, the coat of an Imperial Military officer worn about his shoulders like a cape, and his signature cap, pilfered from the same officer, with various modifications to make it more suitable for a delinquent such as himself. Ryotaro carries himself with overwhelming confidence, bordering on arrogance, and has a constant air of swaggering masculinity. He is fully aware of how large he is and how intimidating his features are, and frequently sneers menacingly or looms over people to use his appearance to his advantage.

Personality
An utterly free spirit, Ryotaro hates to be tied down by anything; be it the law, people, or even his past. He bucks and rebels against establishments and those that represent them as a matter of course, and takes no small amount of pleasure in breaking the rules and generally causing mayhem. He believes that all people should aspire to follow their own path as he does, and respects those with strong individuality and assertiveness. He holds his personal honor highly, taking great offense to those that would challenge his strength or bravery, and similarly holding cowards and weaklings in contempt. Ryotaro's will is that of red-hot iron, and once he has set his mind on a goal or challenge, it's almost impossible for him to give it up. His strong personality makes him a rather magnetic person, and Ryotaro greatly enjoys surrounding himself with people he considers similar to himself, or at least aspire to live as freely as him. To the surprise of many, a character as surly-looking as Ryotaro is quite friendly, and is very talkative and witty in the right company.

History
Ryotaro was born in a town not far from the foothills of the great mountain range that runs through northern Tsukishima. Yanagimachi, as it was known, was something of a backwater farming town, though it was also an important trade center for the local prefecture. Too large and modern to be considered a village, too small and rustic to be considered a city. Such was the stagnant charm of Yanagimachi. Positioned only a few hours' walk from a military encampment, the steady stream of bored and restless soldiers ensured that Yanagimachi had a prosperous pleasure district. Ryotaro was born the bastard of one of the senior prostitutes of the town's premier brothel, who inherited the establishment after the owner fell ill and left her in charge of its management.

Not only a whoreson, but raised in a brothel as well, Ryotaro was never much for high society. As a child he was rambunctious and mischievous, his mother often too busy to keep a close watch on him. As he grew older, the childish pranks became more aggressive ventures such as pickpocketing and street fights. Ryotaro understood what he was and his place in society more and more with each day, and it filled him with an anger and a sadness that he could not adequately express. Violence became his outlet; starting fights, destroying property, as well as hanging around gangsters and other such lowlives. By the time he was fourteen, he was such a menace of Yanagimachi that his mother cast him out of their home and onto the streets. More angry and bitter than ever before, Ryotaro ran away from his home town and into the forests near the mountains.

No one can say for sure what happened in the week that passed after that (mostly because Ryotaro makes up a different story every time he's asked), but he returned to Yanagimachi with a large scar running down his chest, a fine sword nearly as tall as he was, and a changed attitude. Though he was still a delinquent, he no longer needed to act out to express his feelings. He sought out children like he had been, angry at the world and their place in it, and took them under his wing. He taught them to fend for themselves on the streets, how to fight and win, or how to steal and not be caught. Within a year, Ryotaro was the kingpin of a large gang of disenfranchised youths, the influence of which extended even into the neighboring villages around Yanagimachi. This delinquent gang called themselves the Black Emperors, and referred to their leader with the reverent title of Black Tiger.

Though he was happy with the place he made for himself, Ryotaro wondered if there was more to life. He was growing older, and these childish antics would not keep for very long. The Black Emperors sometimes ran favors for the local yakuza, and Ryotaro himself was considered an associate by their number. A future among their number was possible, but Ryotaro considered that the choice of a child that never grew up. He returned to his mother's brothel for the first time in years, and consulted her for advice about his future. It was in this long discussion that his mother told him that his father was a soldier in the Imperial Military, and that only Ryotaro could decide his own future.

Ryotaro needed time away from his home and the memories that surrounded it to think about this. He needed to clear his head, and decide his own fate. It was then that he decided to head out and track down this father that he never met, as it could lead him to learn something more about himself, which could help him find his path in life. Ryotaro set out on the roads, and traveled for nearly six months before being arrested in a village in a mountain pass for trying to run off on a restaurant tab of 2 ryo.

Strengths
Although he carries an odachi sword, Ryotaro is far from a swordsman. His true fighting style is that of a brawler, as he is extremely experienced in street fights. He usually seeks to overpower an opponent in a fight, using his strength and reach to his advantage as much as possible. An utter pragmatist in battle, Ryotaro will use any dirty trick he knows, or any miscellaneous object lying around, as long as it will put him at an advantage. Having no skill in sword-fighting at all, Ryotaro only ever actually brandishes his sword for the purpose of intimidation.

Having lived on the streets nearly his entirely life, Ryotaro is quite streetwise. He knows his way around such seedy establishments as brothels and gambling dens, and can effectively talk with or negotiate with yakuza and other criminals without being duped. He's half decent at sneaking around, an effective pickpocket, and is no stranger to setting fires. While he isn't the most educated fellow, he does possess the low cunning of a proficient criminal, which is invaluable when forced to think on one's feet.

Surprisingly, Ryotaro's greatest advantage is his charisma. When he speaks, people listen. Where he goes, people follow. Ryotaro has a good understanding of other people and what motivates them, particularly people of the lower class (such as himself). He can be funny and charming when he needs to be, but also ruthless and terrifying as well. Good at improvising and making up stories, Ryotaro is also a quick-thinking and convincing liar. He can be quite eloquent and persuasive when he sets his mind to it, and what makes this most dangerous is how few people expect this from him.

Weaknesses
Ryotaro's lack of formal combat training puts him at a severe disadvantage against skilled opponents. Though he carries a massive sword, he has no idea how to use it, and would probably be better off barehanded in a swordfight. While he can hold his own against street thugs, common soldiers, and similar trash, a samurai or other trained warrior would mop the floor with him. Ryotaro is effectively useless in duels, and to win fights must hold advantages such as fighting in close quarters, or taking his enemy by surprise.

Similarly, Ryotaro is utterly uneducated. He is illiterate, and can't count much higher than twenty. While he is decent with money within the context of haggling, he otherwise knows nothing about handling, counting, or properly managing money. As a result, he's almost always broke or going broke. He's not dumb, and is quite clever and observant, but these advantages can be nullified by exploiting his lack of book knowledge. While he may sense that he's being duped, he may be unable to convincingly prove it, and thus is often treated as an idiotic goon.

While Ryotaro's tenacious will is a benefit in many ways, it's also his critical character flaw. He is stubborn beyond all belief, and is almost impossible to dissuade from a task or action once he's decided on it. He can also be worked up into a fury relatively quickly, as his emotions are surprisingly easy to manipulate. His rashness and bull-headedness have nearly been his undoing in the past, and time will tell if they are ever truly the death of him.

Most of Ryotaro's weaknesses can be attributed to his youthful inexperience. All of his boasting aside, he's still just a kid, and has much to learn about the world. Though he considers himself to be somewhat jaded and cynical from his poor upbringing, he still holds a fair deal of childish naivete. A lesson he is still sorely in need of learning is that not everyone is susceptible to his charms; those that do not consider him to be charming usually find him quite repellant. To some he would come off as a precocious child, but to many he just appears to be a moronic, posturing loudmouth.

Likes
-Cheap beer
-Gambling
-Shaved ice
-Sumo

Dislikes
-Fish smell
-Annoying women
-Cold weather
-Foreigners

Theme
Rap is the Soul of a Man! Nah, too obvious.
Yeah, sure.