Tsubaki Koezuka [APPROVED, 1-1+]

I. Basic Information

» Name: Tsubaki Koezuka
» Alias: Hanakou; Koe no Jin (声の刃; Voice of the Sword)
» Age: 959
» Gender: Female

» Association: This is a bit complicated. Currently, it can be said she has no ties. She's been missing for five years. However, listed below are some of her previous ties. (note, it has been five years since I have been here. I've probably forgotten quite a few ties to specific characters)

• Gotei 13: As she was pre-Gotei United, it's proper to assume that her ties would be with the Gotei 13, not them. She was a former Captain-Commander way back when, as well as serving as a member of Zero Division for about 350 years (give or take). She was most known for the period she was a simple Captain however, as that was during the Ender War in the early 21st century.
  
• Shadin Yuudeshi: Shadin was a close friend of hers also way back when. They stayed in contact during her tenure in Zero Division, though she rarely did visit.
  
• Erika Masamune: Erika is perhaps the person Tsubaki is closest to currently. Although they haven't spoken in years, Tsubaki still views Erika like a daughter.

» Appearance: Age has treated this young woman well. Well, young is a very, very relative term. She's nearing a millenium of age, so it's not something she speaks much of. She has retained her silvery-white hair, though it has undergone major style changes over the years. Now she keeps it in an odd tail, decorated with a bladed hold. It's one of the things she tries to actually avoid getting soaked in blood. It may not be the smoothest or most well taken care of now, but with a week or two of work it'll be back to its normal luster. Her eyes have started to match her hair in some lighting. What were once a fierce blue are now fading into vibrant silver. The fading isn't complete, so her eyes sometimes appear blue, sometimes silver. More often than not though, it's more a muddled mixture of the two. Tsubaki is a slightly above-average woman in height, standing at 5'7. She's got a figure to match her height, slender and toned from years of combat and training. Though with her scars, it's hard to tell which one is more likely to have contributed. Most notably, she has a scar under her left breast with a matching one on her back, in approximately a straight line from the front scar. She is more top-heavy than bottom-heavy, much to her back's chagrin.

I. Personality

» Personality: There's a lot that can be said about Tsubaki. She's made an impression on a lot of people, whether good or bad. For the most part, people see her as a prideful warrrior. She deal in honor, not backstabbing or thievery. She detests spies and their ilk. However, eradicating them is an idiotic thing. They're like rats—they have a purpose. Some people like them too. Just not her. However, don't think Tsubaki is some sort of cavalier, issuing challenges to whomever she happens to be fighting. No, most are not worth an official challenge. Tsubaki will cut down someone without a second thought. Their names don't matter to her. It takes someone truly skilled or powerful for her to offer her name in an official challenge. So far, she has enjoyed every challenge she has given even if she ended up losing.

As you can probably guess, Tsubaki is also deftly confident. She may have occasional qualms about a particular outfit, hairstyle, or other change. Those are usually temporary with her regaining her confidence within a surprisingly short time. The fact is, she knows who she is. She knows her limits. She knows what she's good at and what she's bad at. Because she knows those, she can be confident in what she has. One of her proudest moments was entering that "zen" state where she feels that confident in herself. But don't think that she's without her insecurities. She has two main ones, both of which are out of her control. The first is her age. Tsubaki hates the fact she's almost 1,000 years old and unwed. She feels old and that she's close to passing her prime. It's not uncommon for her to lie about her age. Only a few people who knew her back in the day know how old she actually is. What exacerbates her age insecurity is her memory. No, she doesn't forget things a lot. Instead, Tsubaki has a hard time with names and putting those names to faces. She may recognize someone but not know half of a syllable of their name.

Tsubaki is a woman of determination. The mere way she walks shows she is a step above the rest. This does not mean she is some prodigy or a genius. No, she really never was either to any prominent degree. Rather, Tsubaki's walk, her air, her simple aura is that of someone who would bash into a tree with a sword until her hands bled profusely from splinters and blisters alike. She is a woman of her word. If she says she will learn an impossible technique by a certain time, she will do it. Something that Tsubaki has finally found after the past five years is that she was lacking a goal. Tsubaki found that she was living pretty day-to-day in a circular routine, not achieving anything worthwhile. Nowadays though, she finally has something she can strive to achieve. She actually knows what she wants, albeit it is a very long-term goal. She has no idea on how to achieve the goal, but she's going to damn well try.

The only thing higher than her determination is her devotion. If Tsubaki cares about someone, then it would be like two people are competing on how much they care. Effectively, Tsubaki is fighting with herself on who cares more about someone. Her friends and comrades-in-arms are all, for the most part, her most loyal companions. She will never betray them, nor will she lie to them unless it is a truth that would harm another companion. And even then, it takes hours for her to decide whether to do so or not. But there is one step above that kind of devotion in her life, and that's the devotion she gives to someone she loves. Not as a friend, but as a lover. Tsubaki has loved only a few times so far, and none of it was a true love. If that person asks her a question, she will answer it as soon as she can to the best of her ability. There is no 'I don't want to talk about it.' She considers falling in love to be the intertwining of beings, and one must know about the other to do so. Although her devotion and determination are of high level, there is one innate problem with either. That is getting her to the point of that devotion and determination. Tsubaki has trust issues. Whether from full-on betrayal, an amalgmation of lies, or just general distrust, she doesn't usually get close to people in the sense of calling them a "friend."

I. History

» Life Alive: Tsubaki Koezuka was born as a new, tumultuous age was about to dawn on Japan. It did not help that she was also born in perhaps the worst area to be born into, though none would know that. At that time, many were honored to be born in the capital of Kyoto. Born to semi-respectable smith, Tsubaki was not a disappointment. Although Japan was slowly turning into a country where women were second or even third-class citizens, Kyoto was the capital. Laws were still laws, and the laws on the books said she had many same rights as men. It was slightly frowned upon, of course, but Tsubaki was tasked with helping with the business. She did not do much actual work, although the sound of a hammer on steel was always exciting for her to hear.

Then, the Ōnin War broke out in Kyoto. It was a succession war between the current Shogun, Ashikaga Yoshimasa, and his brother, Ashikaga Yoshimi. Yoshimasa had named Yoshimi heir in 1464, but in 1465 Yoshimasa was gifted with a son. This ended up causing strife between Yoshimi's retainer and Yoshimasa's wife. The two plotted behind the scenes and caused a quarrel between the two brothers. In Kyoto, the fighting was dreadful. No one tried to touch the Koezuka smithy, as both sides needed fresh steel. Tsubaki's father tried to stay neutral, only wanting his city to return to peace. Tsubaki was too young to understand.

The war raged on for a decade. During that time, many things changed in Kyoto. The city was burned again and again. Tsubaki was nearly without home many times, but her family remained mostly unscathed. She was threatened occasionally for her father to lower prices or to even provide pieces for free. Anything produced in that manner was always cursed by him. As far as she knows, not a single person with a cursed blade survived the war. Then again, neither did she. The Koezuka smithy was finally destroyed by fire in late 1476. She burned alive, her hair becoming ashen as she died.

» Life in Rukongai/Early Shinigami: Tsubaki was brought to the Soul Society by a Shinigami named... Well, to be honest, she forgot his name long ago. She was sent to a nice district in East Rukongai. It was a middle number, somewhere around 25 to 30. She forgot where she lived then too. Fact is, she didn't like it there. Tsubaki always thought someone was out to get her. She felt like she was being stalked and watched as she walked down the street. As a beautiful young woman, it was to be expected to be looked at. This feeling, however, was different.

Tsubaki told the family she was living with, they simply ignored her. They said it was just her imagination. They say many people who come to the Rukongai find families or at least close groups to live with. While this was true, Tsubaki didn't much care for the people she found. It wasn't just them either. They were too calm, too jovial about everything. The fact that this was a nigh-immortal realm didn't settle with her. Tsubaki felt she should be waiting for someone to come and burn down the shop they had. She'd have to pay someone off to stop it from happening—protection money, as it were. Of course, this never would happen. She was too close to the Seireitei for anything like that to actually happen. Living in Kyoto told her that even where the government sits, it is not safe for those that cannot fight.

Against her family's wishes, Tsubaki started carrying around a dagger hidden within her clothing. For years, she didn't have to use it. As time went on, Tsubaki noticed more and more people showing up. She hoped to one day find someone whom she knew in Kyoto. No such person ever came by. Instead, that feeling of dread just continued to grow. And then, she saw it. It was on a walk home. She had turned around to buy something (she's forgotten what it was, though it was probably food). It stood about a hundred yards back, at the crest of an alley. It was a bulking shape about a foot taller than she was. Its eyes were golden, whatever it was. And it stared at her. After five seconds of eye contact, it faded into the shadows.

Tsubaki ran home, her heart pounding. She looked through every alleyway she passed. Once she made it home, Tsubaki told the actual adults in the room about it. They laughed it off. They said she was working too hard, and that she needed to relax some. She was furious at them. Knowing no other alternative, Tsubaki enrolled in Shino Academy. She thought she'd be rejected because she was female. The admissions officer looked at her after she presented her application. "Go on through. Next." A bewildered Tsubaki was ushered through. It took her ten minutes to finally snap out of it.

In the academy, Tsubaki was most skilled with Zanjutsu and least skilled with Kidou. Her skill with Zanjutsu was mostly because she understood the making of the sword better than most. She would point out flaws in the blades she wielded. When it came to taking an Asauchi, Tsubaki took about a week longer than most until she found the best blade they had. It was tucked away in the back of a storage closet and needed to be cleaned before being used. However, it was her Asauchi. She trained with it more than she should have, sometimes even skipping on earlier lessons.

As Tsubaki began branching out in her training, she was noted to have an aptitude for Hohou. It was an odd aptitude, as she couldn't cover the same amount of distance as other people, but she could make short steps much, much faster. Of course her teachers could still outpace her, but she was far more apt than other students. At the start of her fifth year, Tsubaki was offered a student-teacher position. She assisted with Zanjutsu training, and she could give students specific tips based on the balance of their Asauchi. She was proud of being able to do such a thing.

Upon graduating, Tsubaki was placed in the 13th Division to further assist in training. She was assigned to help with the 13th Division's training grounds, as well as to assist with the other Divisions' training grounds as well. Tsubaki learned more about the Zankensoki here than she did at the academy. She saw how seated officers fought and used their arts. She saw more practical use of those skills rather than the theoretical. This led to her sometimes zoning out while watching a particularly exciting match, shirking on her duties in the process.

Some time after graduating, Tsubaki began the process of trying to learn her Zanpakutou's name. No matter where she went though, Tsubaki could not focus enough. Something always nagged at her. As many of her classmates attained Shikai, she was becoming more and more self-conscious about her ability to even attain such a state. One day, she threw her Asauchi at a rock in frustration. It bounced over the rock, and she sighed as she went to pick it up. Once she did, she noticed... there was a second, identical Asauchi lying near it. She picked it up too. The balance was identical, something that should be impossible. Thinking on it, Tsubaki placed both in her lap. It spoke to her for the first time. "A rock, really? It took you that long to figure it out, and you only did by throwing me at a rock? Don't do that again."

Tsubaki and her Zanpakutou spirit spoke almost daily to make up for lost time. It wasn't fun by any means, but she was determined to catch up (or even surpass) her other classmates. She treated her Zanpakutou spirit with perhaps too much respect, resulting in him getting a bit of an ego. Tsubaki was engrossed by her Zanpakutou, and she would listen to him ramble on about how life worked (in his mind) and such. Because Tsubaki was patient with him, the inner battle was not much an actual battle. Tsubaki earned the respect of her Zanpakutou spirit by being respectful to him. The battle was more of a formality, as he had already decided to give her his name—and thus, she was able to attain Shikai.

However, Tsubaki was still not used to her Shikai. Although many other Shinigami had physical attributes to their Shikai—such as the blade extending, having a cool on-hit effect, etc.—Tsubaki's did not to her knowledge. By the time she learned it did have some special effects, it was almost underwhelming. She knew she'd have to get better at actually handling her Zanpakutou to utilize it effectively. Spending her time at the 13th Division's dojo was what most of her days consisted of. She became known as the "girl who never put down her sword," which gave her some challengers. She beat nearly all of them. That was until the Third Seat of the Seventh Division decided to give her a challenge.

It was over almost in an instant. She was expecting someone who fit the more "airheaded-but-just" vibe the 7th Division was known for at that time. This man belonged in the 6th Division with his air of superiority. He won, by her account, by simply out-willing her. However, he congratulated her instead before leaving. He didn't accept any himself. The next day, he was waiting for Tsubaki. Before she could question him, he began almost barking orders at her. It was soon clear he was teaching her. Tsubaki didn't understand any of it, but his force of personality was too much for her.

Tsubaki trained with him for a week before asking him why. He walked over and... patted her on the head? It was odd, but memorable enough for her to keep that close in her mind whenever he'd show up again. It was a month before he answered her. "You have talent. That shouldn't go to waste because you can't find people on your level." The two of them developed a close bond that continued until his disappearance...

» Notoriety:
Tsubaki was the Fourth Seat of her Division by the time Sousuke Aizen declared his rebellion. She was just as shocked as anyone, but she had another concern. What would this mean for her? She had not seen much actual combat. However, she would soon enough. Tsubaki was not put in the frontlines in Hueco Mundo. At the time, small pockets of Arrancar (under the direction of the Espada) were engaging in activities across the globe. One of these happened to be in the jungles of southeast Asia. Tsubaki was deployed there as part of a small task force of seven Shinigami. She led the team as the highest-ranking member. They encountered the Arrancar almost immediately.

The entire squad was ambushed upon arrival, and most were killed in the initial ambush. Tsubaki fought back as hard as she could. There were only three Arrancar, but all three were beyond her abilities, or the abilities of her squad. They fought hard, but in the end it was only Tsubaki and one other, badly wounded member left. Tsubaki took a blow beneath her left breast, which punctured her lung. As she collapsed, nearly dead, she could hear her Zanpakutou spirit yelling at her to move. She couldn't. But as she saw the three Arrancar stalk towards the wounded member, something inside of her snapped. She blacked out, only awakening two weeks later. The report from the surviving member said that Tsubaki became... something inhuman. Despite her wounds, she stood as if nothing happened. Without even using her Shikai, she took on the three Arrancar with skill remiscent of the tales of Musashibou Benkei.

Tsubaki was rushed back to the Seireitei, and was one of the first batch of people injured who got healing. Tsubaki awoke to praise at the time. She was happy to have saved this person. However, she could have saved more if she were stronger. So, Tsubaki took the time to train for Bankai. This was the first time Tsubaki and her Zanpakutou spirit fought in earnest. It took her three tries, but she did eventually best the spirit. She spared her spirit instead of an outright defeat, saying that she did not wish to harm her. She wanted her help, not to subjucate her. Tsubaki was promoted to one of the few vacant Captain's positions at the time, earning the respect and even further praise from her peers and subordinates. It wasn't until a few years later that Tsubaki was truly tested.

When Ender invaded the Soul Society, Tsubaki did her best to combat his forces. However, she was not a one-man army. Then again, it would end up taking more than an army to bring down Ender. When a fellow Captain ordered a retreat with the news that Head-Captain Yamamoto was dead, Tsubaki didn't want to obey. In fact, she didn't at first. The Fifth Division was the second-to-last Division to retreat from the battle (Sajin Komamura's 7th Division was the last, and that was only after Captain Komamura fell in battle), and only then it was because it was obvious it was a lost battle. Tsubaki's Division was tasked not with preparing for a fight, but with two new duties: gathering what Shinigami that could be gathered from the World of the Living and to act as first-responders to major Hollow incursions in the World of the Living. This was almost humiliating to Tsubaki, but the acting Captain-Commander was a little too intimidating for her to go against.

It turned out to not be needed. When the final assault on the Seireitei commenced, Tsubaki's Division was quickly returned to normal duty. Although many members of the division perished, Tsubaki herself came out mostly unharmed. The Gotei 13 had suffered staggering losses. During the first Captains' meeting under Head-Captain von Zarkonheinz, Tsubaki noticed just how ragged the Gotei was. As Captain Suifeng of the 2nd Division proposed fully integrating the Omnitsukidou with the 2nd Division, Tsubaki spoke up and proposed doing the same with the Kidou Corps. The heads of the Kidou Corps had died while destroying the main Senkaimon in the Seireitei, and so the organization was left without command. With Central 46 once again destroyed as well, it fell upon the Captain-Commander. He approved it—and although it was intended to be a temporary measure, it turned out to work better in the end.

During the cleanup, Tsubaki was introduced to one of the famous participants in the final battle—Shadin Yuudeshi. Tsubine did the introduction on a very, very flawed notion. Tsubine had, in fact, forgotten than Shadin was married. He had introduced them with the intention that Tsubaki might calm down if she were to be with someone romantically. He left them alone and let them talk. It turns out, both of them had some funny stories to share about their mutual friend. Their laughing at Tsubine started another friendship, although it wasn't until about two weeks later that Tsubine remember that Shadin was, in fact, already taken and tried to rectify the mistake. Tsubaki had learned it in the first few minutes of talking to Shadin—and she claimed that he was a little too rambunctious for her tastes anyways. But even if they weren't together, Shadin was someone that Tsubaki trusted would have a truly neutral opinion on many things. He wasn't part of the Gotei anymore, nor was he at odds with anyone she knew. It would end up being a trust that helped her get over her biggest failure...

» Rise & Political Backlash:

Tsubaki served as Captain of the Fifth Division until approximately 2109. She turned the focus of the Fifth Division to Kidou and its applications. She recruited (and sometimes stole) members from other Divisions with high marks in Kidou. It may have put her at odds with other Captains, but she didn't care. The results spoke for themselves. When it came to overall Kidou capabilities, the Fifth Division ranked first. Her aggressive tactics in strengthening a once-failing Division was what kept her on her old mentor's mind. Although, he didn't speak of that until one day in autumn of 2109.

During the 100-year celebration of Ender's defeat, Tsubine von Zarkonheinz announced he was leaving the position of Captain-Commander. To much surprise, he promoted Tsubaki to be his replacement. This was regarded at the time as a highly-personal move. The Captains' meeting that followed was heated to say the least. Tsubine cited Tsubaki's own success in rebuilding the 5th Division as the chief reason she was being promoted. When asked why he was retiring, Tsubine explained to the Captains that he was not retiring, but being promoted. His services were requested "upstairs." Tsubine disappeared from public life not long after—and Tsubaki did her best as Captain-Commander.

However, Tsubaki was not meant to pursue that path. She was approached by a messenger, and she was given a meeting with someone higher up than she was socially. At the meeting, she learned she was being inducted into Zero Division. When asked why, it all came back to politicking. Tsubaki was not a "proper" choice for Captain-Commander. She was viewed as a nepotic choice from a former mentor. However, they couldn't just send her back to a Captaincy, nor could they afford to retire her. She was too strong and too respected. So, they had to give her a promotion to usher in a new Captain-Commander. More importantly, it was one that was "properly" chosen. She had no choice but to accept, no matter how much it wasn't wanted. This ended up almost being a costly mistake as less than half a decade later, World War Three started.

So, Tsubaki became a member of Zero Division. She was bored. Dear lord, was she bored. Nothing happend as time went on—at least nothing she could act on. In order to pass the time, she read countless volumes on martial arts and philosophy. Once she was tired of that, Tsubaki spent a century working on forming two separate styles of martial arts—Tan-no-Ken-to-Tsu-no-Kiritori-Ryuu and Tsu-Naku-Kiru-Ryuu. Both were rather well-executed, but the skill required to master either was rather high. She didn't propose it to the Shino Academy for that reason. But even that didn't take long enough to fill her boredom. So, Tsubaki spent more time searching for a state of "Zen." She wanted to attain something many swordsmen tried to get.

One of the more exciting things that happened during her membership in 0 Division was almost an accident. Despite the members having separate cities, there was still some mingling between them. One of the instances of mingling involved Ōetsu Nimaiya. He had heard she was developing sword styles and wanted to "see what was up." She let him watch her develop the styles, and in turn he helped her with a few things. Something Ōetsu noticed while she was training was that her Zanpakutou wasn't fully awakened. He explained to her that she was looking at everything literally. She wasn't allowing her imagination to flow. Tsubaki had no idea what he meant. After a few lengthy philosophical debates, she connected with her Zanpakutou and began to speak with her. It was an odd conversation, but she realized that Ōetsu was right. Her Zanpakutou agreed, and the two began to train together to show Tsubaki what he meant by the "imaginary." This training unlocked the Niseken abilities of her Shikai.

And then, in 2410, Tsubaki had enough. She was tired of sitting by, doing much of nothing. She tried to be good. She tried to follow the rules of not going to the World of the Living. Tsubaki started to get more involved with the World of the Living, the Soul Society, and other places where people she knew hung out. ...And then she couldn't get in touch with many of them. Most of it was because besides their phone numbers changing and phones themselves changing... half of the streets she used to know were long gone. She was able to see Zin and Shadin occasionally, but for the most part, she was unable to find most of the "old crew."

In 2412, Tsubaki disappeared. It was sudden without any warning. Many people probably felt she died, but no, that wasn't the case. Tsubaki actually fell in love. Tsubaki doesn't speak on who this was. She decided to go to be a bit of a housewife for a while instead of her being a fighter. Overall, she was happy to do this. There was even a time she thought she would be a mother... And then, he died in combat. If she had actually fought alongside him, he would have survived. But he was insistent on making her stand by. Tsubaki fell into a deep depression. After she recovered, Tsubaki learned a lot about herself. Mostly, Tsubaki learned she had to help with the world. She wanted to be able to actually step down from combat and settle down. However, that time isn't now. She's going to have to actually help now.

The man Tsubaki had fallen for was former Third Division Captain Osamu Fujihara. Osamu was, to most, someone unspectacular. He was above average in the Zankensoki, but he never did anything spectacular. However, Tsubaki had known Osamu for quite some time. Before becoming a Captain, Osamu had served in the First Division. He served as a messenger between the Gotei and Zero Division. Tsubaki frequently used him to practice various techniques from her sword styles. He'd eventually make trips up to see her even when there weren't messages. Eventually, he was promoted to the Third Division's Captain. Tsubaki had done nothing to help train him, so she was surprised (and somewhat disappointed) by this development. It meant he'd no longer be seeing her. Yet, they did not stop talking to one another. Letters were frequently delivered between the two, under the guise of him seeking her advice on tactics that could improve the responsiveness of the Third Division.

In 2410, Osamu was severely injured during a fight. He lost his left arm and nearly died. He decided to retire, as he was given the option. He had no way of fighting properly, let alone leading properly. Tsubaki offered him a position as an advisor within her manor in the Soul King's realm. He accepted, and the two secretly became an item. They shared frustrations and laughs with one another. Yet it was never in public. He didn't want to be seen as the man who writhed his way into politics by being able to get in her pants.

Osamu came to Tsubaki in 2412 with a proposition. They would leave the Soul King's realm and live out an actual life together in the World of the Living. He had found a spot that was a natural shelter, far away from anything remotely important. Tsubaki was hesitant at first, but he pressed her. He said that she needn't swing her sword anymore. The Gotei and the other various organizations would take care of whatever problems arose. He won her over with a simple phrase "We could start a family then." Within a week, they had disappeared into the wilderness of northern Japan.

Tsubaki and Osamu spent the first year actually building a house. They built what they could and bought the few things that remained. The stone and log house they made was beautiful for a small family. Tsubaki and Osamu both placed their Zanpakutou over the mantle in the den. The unique stand they made had Osamu's blade in front with Tsubaki's twin blades behind it. He would fight first if the need arose. The two tried to start a family many times, but it never worked out. No matter how hard she, in particular, wanted it, the joy of motherhood was never given to her.

It was January of 2412 when it happened. She doesn't like to speak on it, but the truth needs to come out. She doesn't know why the fight started other than by chance. Osamu and Tsubaki were returning from grocery shopping when they noticed a strong reiatsu near their home. It was... evil and dark, whatever race it was. Osamu told Tsubaki to go home and grab his sword. As she ran off, he told her "Don't bring yours. You don't need to fight." Tsubaki nodded, trusting him. She shouldn't have for once.

Tsubaki obeyed her husband, she only took Osamu's sword with her. She gave it to him as they reached the point where the Reiatsu signature came from. She waited atop a hill as she watched him fight. She watched... as he lost. She screamed as the being—she only remembers there being a lot of red on whatever it was—stabbed Osamu through the stomach. He looked at her, the shaking, terrified woman... and nodded. The being disappeared, and Tsubaki ran to her husband's side. She wept over him. He did not look at her, as his eyes were already glossy. "Tsubaki... be happy for me... don't stay sad... just... smile... Your smile is what... every man... would want... to create..." Osamu died in her arms. She buried him behind their house, his sword forming a grave marker.

Tsubaki lived in the house for only a few weeks before leaving. She would wake up, screaming, the image still in her head. She'd shoot up in the middle of the night, thinking she felt him beside her. She had lived with him for only five years, and yet he was firmly imprinted on the house and on her. Even to this day, Tsubaki cannot taste key lime pie without getting sick to her stomach—as that was his favorite food. She had to leave, and so she decided to wander... She didn't know where to go, and so she set her eyes away from Japan. She needed a different air, literally.

I. Racial Techniques/Abilities/Skills

» Overall: As a former Captain-Commander, it is a simple fact that she is not an amateur. She is well-versed in combat (both in theory and the practical), and she has trained quite a lot over her lifetime. Below, only the skills that are worth mentioning (in one way or another) are listed.

» Speed & Agility: Tsubaki was once one of the fastest people alive (or semi-dead if you want to get technical). As the years have passed on, this could either still be true or she's long-been outclassed. Most of her speed was in sharp movements rather than physical running speed however. Of course, this isn't saying her running speed isn't high. She just happens to be faster at swinging her sword than in a marathon.

» Natural Strength: Tsubaki is mostly average for someone of her level of experience when it comes to physical strength. She's no monster who can lift buildings, but her strength is nothing to laugh at either. Most of her strength, however, comes from muscle memory. He sword swings are strong. Her punches are strong. She may still need to have someone else open the pickle jar. She has trained her muscles in such a way that unless she uses them in a combat situation, she's actually below average. In combat, however, she can be a force to be reckoned with.

» Focus: Tsubaki has reached a state of Mukō (無空; Nothingness) that many swordsmen strive to achieve. It allows her to expertly focus when fighting, training. and any other activity that strengthens mind and body. She is also has this state when doing any form of painting or writing. She has keen eyesight, noticing details that others wouldn't. She may not be able to put the details into something coherent, but the fact is that she can find those details. More importantly, Mukō allows her to focus without outside distractions being a hindrance—while still being able to react to them if she feels it necessary.

» Weapon Skills & Zanjutsu: Tsubaki was also considered one of the best (if not the best) swordsmen/swordswomen before her disappearance. She is the founder of two entire schools of martial arts—Tan-no-Ken-to-Tsu-no-Kiritori-Ryuu and Tsu-Naku-Kiru-Ryuu (iaijutsu and kenjutsu respectively). Both are rather punishing schools, with the former requiring high speed while the latter requires more focus and control. Both are described in detail below. Tsubaki is considered one of the true masters of Zanjutsu as well, although her skill seems to be so high due to the fact her Zanpakutou remains a sword and does not become some unwieldy or odd weapon. When it comes to Zanjutsu, Tsubaki has created a handful of specific techniques. Unlike her own sword styles, Tsubaki refuses to teach her techniques to anyone. They are known as the Kiri-kata no Kinshi (切り方の禁止;Forbidden Ways of Cutting). In truth, they are not difficult to learn. They are simply dangerous to do so.

• Tsurizao no Kettō (釣り竿の決闘; Duel of the Fishing Poles) is the first technique. Tsubaki refers to its inspiration as a story she was told in her youth. Two men went out fishing. One was an old man, who had fished with the same pole for years. The other was a man just as old, but regularly upgraded his fishing pole based on new techniques of making one. The second man berated the first on his old pole. It was outdated and weather-worn. The second man asked "How long is yours?" The first man shrugged "Oh, I don't know. Somewhere about 350 centimeters?" The second man laughed. "Ha. Mine is exactly 360 centimeters. The man who made it is a master craftsman, you see." The second man continued to ask questions about the specifics of the first man's fishing rod. The old man didn't know any of the exacts. They found a spot downstream and decided to try their luck. There was a small cove, surrounded by rocks but filled with fish. Every time the first man threw his line, it landed in the rocky cove. Yet the second man was never able to make it in. At the end of the day, the second man finally asked. "How were you able to make it in every time? I know the exacts of my pole, but you don't know anything." The first man replied "I don't need to know the exact length, weight, or age of this fishin' pole. I've been using it for years. I know how it will cast. You change your pole every year. You know what it should do, but not what it actually does." The moral is that just knowing how something works doesn't mean that it will work.
  
  There are only two uses for Tsurizao no Kettō. The first is used as a counter to a thrust. The user's blade is held parallel to the incoming thrust. When the tip of the user's blade is one inch past the opponent's blade's tip, the user's blade will tap the opponent's blade. The opponent's blade's trajectory will be thrown slightly off, allowing the user to close the distance without worry of the thrust. The second use of Tsurizao no Kettō is more limited. Some Zanjutsu or Kenjutsu techniques use tricks of the eye to decieve an opponent about the length of a blade. Tsurizao no Kettō's small tap is enough to dislodge that trick of the eye.
  
  
• Zanshu Gyakuten (斬首逆転; Beheading Reversal) is the second of the Kiri-kata no Kinshi. Zanshu Gyakuten does not have its own inspiration fable. It is a technique designed to cut off the head of an opponent who has gotten too close—or will get too close. The dull edge of the blade is pressed close to the user's neck. This is usually done by sliding it underneath the chin. When the opponent is close enough that dodging is most likely impossible (this being close enough to smell someone's breath or have their sweat drip on you), the user places their other hand on the back edge of the blade and both arms push hard against the opponent. This usually is enough to behead someone. The danger of the ability comes in how fast it must be done. Any miscalculation or adjustment and the user will impale their own neck.
  
  
• Hosatsu (捕殺; "Catching Killing") is a strike that uses Shunpo to reach its full effect. While a normal lunge could reach, the attack is meant to use Shunpo. Hosatsu is a more dangerous version of Senka. Hosatsu propels the user forward, directly towards the target. The user holds the sword to the side. As they pass by the target, it is intended to cut them in half. However, if someone defends with a strong enough sword, it could even break the user's hand.
  
  
• Gobudameshi (五分試し, "Killing by Inches") is a single, strong strike. However, the blade isn't what is dangerous. The sheer speed and strength of the strike creates a three-inch "pocket" of air that cuts just as much as that blade would. The strike's main problem is the strain it puts on joints. Not so much that it only hurts, but that the joints are dislocated. Thus the more it is used, the closer it is to dislocating the user's arms' joints. Tsubaki can do approximately five Gobudameshi consecutively (1 per post) before her joints are dislocated. She does not have this worry if she takes at least a one post break between uses.
  
  
• Shichinenki (七年忌 , "Seven Death Anniversary") is a state considered a lesser form of musō, the state when warriors are one with their weapon. Shichinenki is not a single-person technique, although it acts as one. The body is put through incredible strain for this. It somewhat negates damage. Non-instant-death injuries... are not dealt. It is only between two people, the user and the last person who the user's blade touched. Shichinenki applies both to the user and the other, meaning that the user and the other can only deal instant-death injuries to each other. However, any damage dealt to the user before the opponent is killed or if Shichinenki runs out of time is dealt after Shichinenki is over. It can only be used once per thread. Tsubaki can keep Shichinenki up for 5 posts.
  

» Kidō: Tsubaki is a particularly average combatant with Kidou. Her skill is nothing to talk about usually. She has the knowledge of many Kidou, but knowing them and being able to perform them with skill is entirely different. The thing is, however, Tsubaki is exceptionally skilled with a certain subset of Kidou. These are informally known as "Shokubai Kidou," or "Catalyst Kidou." These are the few spells that are performed best with a catalyst—usually a Zanpakutou. Those are her specialty, and she can perform them with exceptional skill compared to the rest of her Kidou. In fact, the Kidou she uses more than any other is Hadō #78—Zangerin. She has truly mastered this single Kidou, using it to its utmost capabilities. However, that focus means that her skill with other Kidou is extremely lacking. Her barrier-type and most Bakudo are weaker than usual.

Gekisō Zangerin (逆双 斬華輪; Reversed Twin Cutting Lotus Ring): Gekisō Zangerin is a modification of Zangerin. It is effectively a twinned version of Zangerin. It requires two Zanpakutou, meaning there is a very limited selection of Shinigami who can perform Gekisō Zangerin. Tsubaki can only perform Gekisō Zangerin once per three posts due to the energy it requires.

Saisenkō (最戦叫, "Cutting Edge War Cry"): Centuries before Yoruichi Shihoin or Sui-Feng even hypothesized the idea of the Shunkō technique, Erenyata had already long since theorized the possibility of fusing Kidou with Zanjutsu fighting in order to use both in tandem. For years he had worked on creating this perfect fusion of two Shinigami skills to create something greater than the sum of its parts. It wasn't until about thirty years after first creating the idea of a Kidou Zanjutsu fusion did he begin trials, most of which ended in either explosions or dead test subjects. While with Shunkō the Kidou wraps around the user's body, in Saisenkō the energy needs to be stabilized around and on their Zanpakuto. This simple fact made creating this technique incredibly difficult, stretching the process across many decades. However eventually Erenyatu succeeded in his endeavor by creating an unstable, imperfect version of Saisenkō and then spending the following hundred years refining and perfecting it to the point of utter mastery. At some point the knowledge of this ability was passed to Eren's fellow 0 Division member and future Captain Commander of the Gotei 13 Tsubaki Koezuka due to her specialization in Zanpakuto-related Kidou.

As previously stated Saisenkō is the result of combining Kidou with the user's Zanpakuto and Zanjutsu skill, creating a technique far stronger than either separate. By creating and then focusing a tremendous amount of Kidou energy on and around their Zanpakuto, the user can activate Saisenkō. However the difficulty with this is if the wielder does not know the exact limits of their spiritual weapon it can shatter if they use too much Kidou power or prevent the technique from working if they use too little. Unless the maximum amount of power is used either an explosion will occur or all the energy will just immediately dissipate; it is this aspect of Saisenkō which requires years of practice to even begin using the technique and decades or more to master it. Erenyata didn't have too much trouble with this as he had long since mastered controlling Kidou and learning his Zanpakuto's limits.

Once the user is able to adequately learn how to envelop their Zanpakuto in Kidou energy, they must then train themselves to fight with Saisenkō. Due to the incredible amount of power involved in this technique Erenyatu had to essentially relearn Zanjutsu because normal Zanpakuto combat isn't fitting for it. Not only does Saisenkō make the user's weapon feel extremely heavy but learning to control the energy so it doesn't tear their body or surroundings apart is a long process. However once this as well is accomplished, Saisenkō becomes the highest form of Zanjutsu in essentially all aspects. The destructive power of the technique is said to be capable of defeating opponents of equal strength without ever even needing to use a sword release. A significant advantage of Saisenkō is it allows the user to fight at all ranges as it can dramatically enhance their close quarters combat while also being able be fired at opponents, resulting in powerful and destructive explosions. Other aspects of Saisenkō include the ability to negate equivalently powerful or weaker energy attacks, increase the weapon's cutting power and durability ten fold, and cause damage across wide areas. Like Shunkō there are a few sub-techniques and additional effects possessed by Saisenkō:

Yōso Saisenkō (要素最戦叫, "Elemental Cutting Edge War Cry"): Unlike the Hakuda equivalent, Saisenkō does not inherently possess an elemental property and so it must be actively warped depending on what the user prefers, each requiring at months of training under normal circumstances to use. Currently Erenyata has developed three different elements for it, each of which must be used separately: Wind, Lightning, Fire. Tsubaki has developed a fourth form, Water, which Erenyata was easily able to pick up on. The Wind form appears like swirling gusts wrapped around the Zanpakuto and increases the weapon's cutting power twenty fold as well as allowing the user to launch air waves capable of piercing most objects it comes across. The Lightning form is by far the most destructive, covering the blade in bolts of electricity which can be shot out to cause severe damage to terrain and people alike and makes close quarters combat against the Saisenkō user particularly difficult as they can continuously shock nearby opponents. Last but not least is Fire which coats the Zanpakuto in flames hot enough to burn holes through the most fire retardant materials around. While they can all cause damage across wide areas, Fire allows the user to create powerful explosions large enough to encompass entire battlefields if need be. Tsubaki currently only has access to the Water form. The Water form acts like a coating for the blade. It increases the durability of the blade, but that is not all. The water along the blade flows rapidly, following the edge of the blade. The flowing water acts almost like a chainsaw, thus increasing the tearing power of the Zanpakutou. Tsubaki does not yet have enough mastery over the technique to have developed an external, ranged attack for the Water form.

Saisenkō: Saigo Owari-wu (最戦叫 終円, "Cutting Edge War Cry: Ring of the End"): Considered to be the ultimate capability of Saisenkō, this technique has been mastered only by Erenyatu and taught to Tsubaki Koezuka. Unlike the usual version which is a technique meant to enhance Zanjutsu, Saigo Owari-wu is a final attack which utilizes all the destructive power surrounding the user's Zanpakuto. By stabbing their sword into the ground or placing it tip-down in front of them in the air, the user can send out a ring of the energy which grows and grows until possessing a diameter based on their skill with the technique (Tsubaki's ring can grow to be about 250 meters). Once this is done the energy explodes up and down from the ring, creating a cylindrical structure of Saisenkō's destructive force with both a ceiling and floor. These walls are incredibly difficult to pierce even for strong individuals as they constantly repair themselves using ambient energy. Once completed, the structure will begin shrinking in size until, after four posting rounds, everything it can possibly destroy within its walls is vaporized. This is considered to be a final technique not just because it requires all the power of the user's Saisenkō but because it is just as likely to damage or destroy them as it is their opponent. Once Saisenkō: Saigo Owari-wu is used the user cannot use Saisenkō for the remainder of the thread in which it was created.

» Shunpo: In addition to her natural speed, Tsubaki was considered one of the best shunpo practitioners in her day, although that skill has waned somewhat. Like her general speediness, Tsubaki was more adept at short bursts rather than distance. Thus, Senka was a technique she was quite practiced with.

• » Utsusemi (空蝉; Cicada, referencing their molting): Way of Onmitsu, 3rd of the Shihō. It allows for a movement at great speed, leaving at least one tangible after-image behind. Tsubaki's mastery of utsusemi allows for her to form several after-images.
  
  
• » Senka (閃花Flash Blossom): A special Shunpō technique where one moves to their opponent's back, directly attacking and sealing one's "Saketsu" and "Hakusui" in one strike (effectively cutting them off of their spiritual energy flow). The movement is so fast that an opponent may not be able to tell whether she was attacked from the front or the back and even an outside observer may find it impossible to tell what the movements are. Tsubaki's skill with Senka earned her the title "Hanakou," (花后) meaning "Blossom Queen."
  
• »» Hanki Senka (反鬼 閃花, Reverse Demon Flash Blossom): Hanki Senka is an alteration to Senka, created by Tsubaki during fights with people with heightened reaction speeds akin to her own. Hanki Senka follows up behind a failed (or failing) Senka. Effectively, if Tsubaki notices a Senka will miss, be blocked, or countered, she continues the motion until the very last moment before performing another Senka. This usually puts her in front of someone, putting her in more danger than before. In concept, it is a simple ability, but it is one that requires years of practice to successfully perform.
  

» Tan-no-Ken-to-Tsu-no-Kiritori-Ryuu (単の剣と切り取り流; lit. Style of one blade and twin strike): Tsubaki has her own style of Iaijutsu that she created on her own over the years. There is not another person in existance that uses or another person in history that has used anything remotely similar to this style. To begin with, one must know the principles of Iai. Iai is the drawing of the sword, followed by the cutting of the opponent, followed by the swinging off of the blood, followed by resheathing the blade all in a single move. Many different styles of Iaijutsu exist, but none are as remarkable as Tan-no-Ken-to-Tsu-no-Kiritori-Ryuu. This style takes the speed of it one step farther. The blade is drawn, cuts twice, and resheathed in a fraction of a second, giving her the appearance of never moving her arm. At the very least, it looks like a twitch to the trained eye. The only way it is seen is by a glint of light that represents the blade's reflection of light. This arc is lavender in color. However, the true purpose of this speed is to never let the opponent see how long Tsubaki's sword truly is, giving them only the arc and sheath length to go by. When facing against opponents, there are three ways to win with Kendo and Iai. Those three ways are sen-no-sen, sen, sen-no-go, and go-no-sen. Sen-no-sen occurs when the enemy is unprepeared, surprised, or is otherwise showing a clear opening. Sen is when the opponent is about to attack, when she has focused her mind and body on offense and is therefore unable to defend. Sen-no-go is when the enemy is in the middle of her attack and has no way to protect himself. Go-no-sen, the final chance, arrives after defending against the enemy's attack, in the moment of vunerability before she recovers. Tsubaki learned that those four methods are the only way to win a battle. With Iai, Tsubaki can take all four of those. The speed of her strikes allow for her to take advantage of any of those, especially sen-no-go.

» Tsu-Naku-Kiru-Ryuu(津なく切る流; lit. Style of cutting without inquiring): Tsu-Naku-Kiru-Ryuu is her school of Kenjutsu. It is among the same vein of Tsu-no-Kiritori-Ryuu in that it requires an expert knowledge of one's own sword—or in this case, swords. Tsu-Naku-Kiru-Ryuu is unique in that it specializes in having multiple weapons out at once, with perhaps more available to be used. It has a unique flow to it, encouraging the user to drop and later re-obtain the weapons as combat dictates. Even more so, the style encourages the user to have multiple weapons available. Sword is stuck in a block? Drop it, draw dagger, stab. Think a fight may take a while? Drop secondary sword, pick it up later for a surprise attack. The style trains the user to use the least amount of energy possible in retrieving a weapon while also doing it in the fastest manner possible. Thus, one must know the weight, length, balance, and even wind resistance of their weapon by heart or else the style fails.

» Kiku to Hasu no Enbukyoku (菊と蓮の円舞曲; lit. Waltz of the Chrysanthemum and Lotus): Kiku to Hasu no Enbukyoku is something only two other people in the world know of. One of them is dead. The other, Tsubaki wants dead. Kiku to Hasu no Enbukyoku is not, in truth, a single sword style. It is three. There is the Kiku-Ryuu and Hasu-Ryuu and then the merging of the two. Kiku-Ryuu and Hasu-Ryuu are used seperately and cannot be combined within a single person. This means Kiku to Hasu no Enbukyoku is actually a two-person style. Tsubaki and her late husband were the ones who developed this style. Kiku-Ryuu was Osamu's style while Hasu-Ryuu was Tsubaki's. Together, their bladework could be called beauty incarnate. It was more like watching a performing art rather than a martial art. They had absolute trust in one another. More than that however, the pair had an almost-unnatural synchronization. They could read each other's moves to see what would be the best combination.

Kiku-Ryuu was a style designed for use with one sword. More than that, it was designed for use with only one arm. It uses strong, quick strikes to their fullest. It does not have great range and is best used in confined environments—or in a situation where the avenues of movement are restricted. Kiku-Ryuu's strikes are usually vertical or diagonal. These are usually followed up with multiple thrusts. Hasu-Ryuu is almost the opposite. Hasu-Ryuu is designed to use two swords, but is designed to also be used with only one sword. Hasu-Ryuu uses wide, arcing strikes. These are designed to strike around an area. Effectively, they're meant to restrict the movements of an opponent. Hasu-Ryuu uses mostly horizontal strikes or feints between its two blades.

» Painting and Calligraphy: Although it does not help in combat in any way whatsoever, Tsubaki is a talented painter and calligraphist. She tries to get others to practice an art like hers too, as she says it keeps the mind calm. Well, she seems to be a hypocrite as she swears like a sailor if something ends up wrong.

» Master Bladesmith: Tsubaki may not do it actively anymore, but her blades are among the best made. She can tell the balance of a blade with a single heft, determining its weakest spots. Because of this training, she can give advice on how to properly wield the sword according to its balance.

» Reiatsu: Tsubaki, as a former Captain-Commander, has a vast amount of reiatsu. She has expert control over it, as she would not want to crush most places under her own Reiatsu. By studying former Head-Captain Yamamoto's memoirs as well as keeping Lieutenant Choujirou Sasakibe as her own Lieutenant during her time as Captain-Commander, Tsubaki learned a lot on how her predecessor kept his Reiatsu dormant. It has helped her, although her Reiatsu is quite different than his. As one without an elemental affinity, she doesn't affect the environment much when her Reiatsu flares. Tiny cuts appear on objects and lower-ranking people when it does. These cuts are rather minor and can be compared to papercuts.

I. Sealed Powers

» Zanpakutô Name: Sōtsume Kōshin (双爪 鋼心; lit. Twin Claw, Steel Heart)

» Zanpakutô Spirit Appearance: Sōtsume Kōshin appears as a woman of about 30, usually in a festival garb. She carries around a parasol, even indoors. Sōtsume Kōshin, or Tsume for short, is what Tsubaki would call a perfect "embodiment" of a sword. Her clothes are elegant and flashy. However, they are durable to protect her from harm. Therefore they are a perfect sheath. Her eyes are kind but strong, like the cutting edge of a blade. Her hair is a perfect brown and is well taken-care of, like the wood for a hilt. Her body is lean and fit, perfect for the blade. Her mannerisms and voice are crisp and clear, never a wasted movement. She scolds Tsubaki like an older sister would. It's not as harsh as a mother's, but it carries the authority that comes from maturity.

» Inner World: Sōtsume Kōshin's inner world is modest Japanese temple with many Torii and small shrines floating around it on chunks of rock that float in an empty, perpetually-dusk (or dawn, it's rather hard to tell) sky. Cherry blossoms from rocks that have the giant trees do scatter about, giving it a very unique "rain" occasionally. The central temple, however, is where Shizen no Hōsoku makes his residence. Despite being modest on the outside, the inside of temple is much larger—comparable to an imperial palace over a simple temple. Most rooms are accessible by a single, long hallway that leads to the main sanctum. Inside there is Sōtsume Kōshin.

» Zanpakutô Appearance: Sōtsume Kōshin takes the form of a pair of katana. Besides the hamon (the wave-like pattern along the blade), the swords are identical. They are approximately 36 inches long, hilt included. The blade itself is only 29 inches long, but that includes the includes the tang. The tsuba on each is a an empty wheel with five curved "spokes." The hilt and scabbard are of a blue that matches Tsubaki's own attire nowadays. The hilt starts a pattern. The pattern begins with a a golden shape that is best described as a stylized "E." It has two long points that extend about about two inches up the hilt, with a gentle "s" curve on both sides. There are four black stripes of leather along the hilt, each one bordered with small golden bands. The scabbard has an entirely different pattern to it. Each one starts off being mostly solid blue with what looks to be artistic splashes of yellow paint. As you go down the length, the yellow splotches increase until it is more yellow than blue.

» Sealed Zanpakutô Power: As an old-school Shinigami, Tsubaki doesn't have many unreleased abilities.

• Kidou Affinity: Tsubaki has a natural affinity to any Kidou that uses a Zanpakutou as a catalyst. Her "signature" kidou is Hadō 78: Zangerin. Any kidou that uses a Zanpakutou as a catalyst is considered to be 5 numbers higher in power.
  
  
• Shōtenshō (衝天象; Opposing Image): A special ability that allows her to fight when her mind does not wish to after it has given out. It is effectively her becoming an automaton to defend herself at the last moment. She must be on the verge of death for Shōtenshō to activate, and it is not a conscious effort. It is her Zanpakutou protecting itself. She could even be unconscious while her body is "possessed" by the idea of protecting herself, allowing her to fight even in the worst condition possible. In total, Tsubaki's body and mind allow her to stay within Shōtenshō for approximately ten posts before she is comatose for approximately two weeks. She does not remember anything that happens whilst in Shōtenshō. Shōtenshō could perhaps be the embodiment of the Mukō state mentioned above.
  
  
• Mana Kanpa (真名看破; lit. True Name Discernment): Mana Kanpa allows her to learn the name of a sword she clashes with. It only activates if the weapon is a sword. Mana Kanpa also will only activate if the wielder of the sword knows the name. This means she cannot know someone's Zanpakutou's name if its owner does not know it. The name is also only the name of the form the sword is in. Thus, she cannot know a Bankai's name if the Zanpakutou is in Shikai.
  
  
• Futagokiri (双子切り; lit. Twin Cuts): While Futagokiri is active, whatever cut Tsubaki makes an identical one is made in the opposing direction. If she makes a slice downwards, a slice upwards is made as she is making the same cut. They follow the same path essentially, except that the mirrored cut is started from the approximate end of the slash. This creates an effective pincer move against armor or blocks against her sword. If it collides with a sword, then the blocking sword now has the pressure of two identical swords pressing against it from opposite directions. Tsubaki can keep Futagokiri active for up to five posts with a three-post cooldown.
  
  
• Hoshigatawakiri (星型環切り; Star-Ring Cuts): Hoshigatawakiri is an enhanced version of Futagokiri's ability. Instead of cutting in two directions, the sword now cuts in eight directions. Up and down, left and right, diagonally from upper-left to lower right, from upper-right to lower-left, from lower right to upper-left, and from lower-left to upper right all at the same time. In total, Tsubaki is making eight cuts, although only seven are "mirrored cuts." Tsubaki can use Hoshigatawakiri once per 2 posts.
  

I. Shikai

» Shikai Release Phrase: Forge, draw, rend! (鍛える, 抜く, 裂ける; Kitaeru, Nuku, Sakeru!)

» Shikai Appearance: When Sōtsume Kōshin is released, the blades ignite. One sword takes on a flame of crimson while the other takes on one of cyan. Once the flames engulf the blade in full, they coalesce in the middle of the blade, forming a wispy fire. The fire is not an actual fire, but it behaves like one visually. If a strong gust of wind hit the flame, the flames would thin and try to go with the wind—but would never leave the blade entirely. When Sōtsume Kōshin uses an ability with energy, the energy looks like a sheet of oil—shimmering between the same cyan and crimson.

» Shikai Abilities: Sōtsume Kōshin's Shikai is split between two "sides." As the Zanpakutou itself is based around a sword and what it means to be a sword. In Shikai, Sōtsume Kōshin focuses on the history of a sword—split between the legends and the reality. This is strictly split between Niseken (偽剣; Fake Sword) and Shinken (真剣; True Sword). Niseken refers to the legends of swords—not any sword in particular, but common legends among them (e.g. a sword that chooses rulers, a sword that cannot be sheathed, etc.). Shinken refers to the actual history of swords—or rather things that can be proven to have happened. Before her training with Ōetsu Nimaiya, Tsubaki only had access to Shinken and it did not have a name separating it. Only after her training did she learn of Niseken and the names of the two halves.

Niseken (偽剣; Fake Sword)
Niseken allows for what would be considered as fantastic abilities. Niseken's abilities are broken up into two categories: Senkei and Kaiten. The two represent the two basic types of sword strikes. Senkei represents thrusts while Kaiten represents slashes.

Kaiten: Hasu Ichi (回転: 蓮一; Rotation: Lotus 1): Hasu Ichi is a circular blade of energy fired from the edge of either sword. The ring is approximately two feet wide with a blank space in the middle of approximately 1 1/2 feet. Hasu Ichi can only be fired from a wing, and cannot be fired while the blade is stationary. It rotates in the direction of the swing. Hasu Ichi's ring travels in roughly a straight line, although if it did not have a distance limit, it would begin to curve into a spiral at approximately 3 kilometers out. The maximum distance Hasu Ichi can travel is approximately 300 yards. The ring acts as a sawblade effectively, and does nothing in the way of exploding or anything special upon contact with another surface. Instead, it will attempt to cut through. If it doesn't cut through or upon reaching the outer limit without contact, Hasu Ichi dissipates.

Kaiten: Hasu Ni (回転: 蓮二; Rotation: Lotus 2): Hasu Ni follows Hasu Ichi's design. It, too, can only be fired during a swing. During the firing of the ring, a second ring follows immediately after. The second ring will track behind the first. The second ring is considered separate from the first. Thus an ability that "blocks a single attack" would only block the first ring, not the second. The user can fire only one of these per post, and cannot fire one in the same post she fires a Hasu Ichi or Hasu San. The range on Hasu Ni is reduced to 200 yards.

Kaiten: Hasu San (回転: 蓮三; Rotation: Lotus 3): Hasu San is the current penultimate version of Hasu Ichi. Hasu San is three Hasu Ichi rings, all three spinning in the same direction. This, in effect, creates a much larger ring. However, it has the effects of a Hasu Ni in that each ring is considered separate from one another. If one ring dissipates, the other rings will continue to rotate as if it were there. Hasu San can be fired once every other post, and cannot be fired in the same post as a Hasu Ni or Hasu Ichi. The range on Hasu San is reduced to 100 yards.

Senkei: Hamaku (線形: 刃幕; Lineation: Blade Curtain): Hamaku is started by the blade of either sword drawing a line of at least three feet in a surface. Thirty feet in front of the line (from the direction it was being drawn from), a second line appears after a short delay. That line spawns a what can best be described as an inch-thick sheet of energy. This sheet extends for about thirty feet from the line. This extends directly from the second line and only in a straight line. There can be up to three lines drawn per post. Hamaku is too brief to be used for defense. Video of the move's inspiration.

Senkei: Byakkoya (線形: 白虎野; Lineation: White Tiger Field): Byakkoya requires the wielder to hold either sword abreast with the blade facing away. The blade will shine with the same shimmering colors as it charges before firing a wide sheet of energy. This follows the curvature of the blade and extends 200 yards away from the source. The main drawback of the ability is the low firing angle it has. The user has to physically have their body aimed in the direction they are firing Byakkoya in. It is also one-inch thick, just like Hamaku. Byakkoya can be used once every other post, and its use cannot be combined with any other Senkei or Kaiten ability during the same post.

Senkei: Ichida (線形: 一朶; Lineation: Branch of Flowers): Ichida is a more versatile version of Byakkoya. As it is a recently-acquired technique, Tsubaki is still learning its use properly. What is described below is Ichida in full power, and currently Tsubaki can use it to roughly half effectiveness.Ichida uses the same principles behind Byakkoya. The sword is held away from the body like it was going to be used in a thrust. This means the blade is aimed away from the body with the back held upwards. The blade glows, like with Byakkoya. Instead of firing out a wide arc, Ichida fires dozens of "branches" from the blade. The branches travel in a straight line away from the blade. Each branch is fired at a shallow angle (approximately a 13°angle). This means that up close, the ability does not spread much, but it will be spread as it extends. The blade cannot be moved while Ichida is active—if it is, the ability shatters. Ichida can be held for up to three posts with a two-post cooldown before it can be fired again. While Ichida is active, no other Senkei or Kaiten ability can be activated. The other blade is free to be swung while Ichida is being held. The maximum distance of travel is 600 yards.

Shinken (真剣; True Sword) Most of Shinken's abilities are passives. Based on "laws" or "rules" of swords—effectively, what it means to "be" a sword. Each of these only applies to the blades when they are released.

A Sword Must be Sharp: Neither blade can be dulled. They can chip, bend, or break, but cannot be dulled.

A Sword Must be Held: The wielder of Sōtsume Kōshin can call the blade back to their hands at will. It takes 1 post per mile for the blade to come back. Thus if it is within a mile, the wielder can call it back within one post. However, if Sōtsume Kōshin is not held, it loses its passive abilities. Instead of calling it back to the hand, if the wielder places their hand on the missing blade's sheath, it will instead return to the sheath and sheathe itself.

A Sword Must Cut: The damage type of the swords cannot be changed. This means if something could change "slashing" or "piercing" damage into "blunt" damage, it would not affect either of the Zanpakutou's blades.

A Sword Must Not Break: This does not counter the weakness of A Sword Must be Sharp. The blades can still be broken, but they are much harder to break than normal a Shikai.

A Sword Must be Metal: The blades' material cannot be changed. They will remain the same style of metal.

A Sword Must be Long: The size of the swords will not change. Instead, they will change in proportion only if Tsubaki changes. Their weight can still be changed, but their actual size won't unless Tsubaki's changes.

I. Bankai

» Bankai Name: Tanken-tei Tan'ya no Seishin (短剣体 鍛冶の精神; lit. Body of Daggers, Spirit of the Forge)

» Bankai Appearance: Tsubaki personally hates her Bankai's appearance. It's unsightly and says it makes her look like "one of those girls from the south," meaning someone from Okinawa or any of the other islands. Upon release, Tsubaki's hair unfurls from whatever style she had it in and grows to to her feet. Her outfit changes drastically, but the change she hates the most is that her skin darkens. She now has a decent tan, which represents the fire of the forge scorching her body. The temperature around Tsubaki raises about 10 degrees, also representing the forge's fire. Where she walks, the ground cracks and steams like it was going to erupt—without actually doing so. While in Bankai, Tsubaki's two swords become one. In whatever hand she is not holding her Zanpakutou in, the crimson fire from before engulfs it. An interesting change is when Tsubaki speaks, her voice has a metallic ring to it—like she were speaking through a metal can.

» Bankai Abilities: When in Bankai, Tsubaki's Zanpakutou is again split between two types of abilities. This time it is split between Miken and Ken no Kaibō.

Miken (実剣; Real Sword) Miken refers to what happens when Shinken and Niseken are mixed. This only occurs during Bankai, and cannot occur during Shikai. Miken allows for the abilities of Shinken and Niseken to mix—allowing her access to both during Bankai. The first difference between Miken and the Shikai variants is that anything tied to energy during Shikai is made into an actual blade with Miken. The second difference is that Miken can only be fired from the sword. The same restrictions as Shikai exist.

Ken no Kaibō (剣の解剖; lit. Anatomy of a Sword) This is the main ability of Tanken-tei Tan'ya no Seishin. Tsubaki can channel a "part" of a sword while in Bankai. This allows her to have slightly different capabilities. These channels are done from the arm that is sheathed in the crimson flame. Tsubaki can switch which part is being channeled once per post. Unless otherwise stated, the effects of each part do not last after a channel is switched.

• Hasaki (刃先; lit. Blade's Edge): When Channeling Hasaki, Tsubaki's arm turns metallic grey from shoulder to fingertips. The edges of her arm, hand, and fingers (so what would be considered the "left" and "right" parts of her arm rather than the "bottom" and "top") are a lighter grey. Along these parts, they act like a sword's blade. If something connects with her arm, it will be like striking metal and not flesh. The blade arm cannot cut her own body.
  
  
• Shinogi-ji (鎬地; lit. Blocking Surface): Shinogi-ji is similar to Hasaki. However, instead of having a "blade," the entire arm is covered by the "blocking surface" of a blade. To go into more detail, her arm's structure is the same. She still has bones, muscles, blood vessels, etc. Her skin simply becomes covered in a metallic sheen which acts like metal.
  
  
• Bōhi (棒樋; lit. Fuller): Bōhi can only be used once per release. Using Bōhi will restrict Tsubaki from using any of the Ken no Kaibō abilities. Bōhi, when channeled, refreshes all of the blood in Tsubaki's body. This deletes any blood-based toxins (or anything of that nature) and restores any lost blood. Bōhi will also lower the usage of her Bankai by one post.
  
  
• Tsuba (鍔; lit. Blade Guard): While channeling Tsuba, Tsubaki's arm becomes wreathed in a metallic pattern that matches her sealed Zanpakutou's tsuba. Tsuba allows her to fling blades at a target location. These blades follow her arm's movement—if she she extends her arm forward, the blades travel in a straight line. If she swings in an arc, the blades follow the arc. Each swing summons five blades. These are also just what the name says—blades. There are no hilts attached to them. Each blade is the same length, width, and curvature as her own Zanpakutou. The difference is that the forging line is straight and does not have any of the characteristic waves associated with other katana. She can swing twice per post.
  
  
• Tsukaito (柄糸; lit. Hilt Thread): While channeling Tsukaito, Tsubaki's arm becomes wrapped in violet and black cloth like her Zanpakutou. The cloth adds a bit of defense to Tsubaki's arm, but that is not its purpose. Tsubaki can swing her arm around, the cloth acting like a whip. The cloth can extend up to 15 feet away from her body.
  
  
• Kashira (頭; lit. Handle Cap): This is the only ability Tsubaki does not have to channel, as it is active during the entire release of the Bankai. Kashira allows her punches to perform a Konsou, as if her own fist was a kashira itself.

I. Shikokai

» Shikokai Name: Tsukaimichi no Ishitachi (使い道の意思太刀; lit. Blood Sword of Purpose)
» Shikokai Appearance: This is perhaps not as drastic of a change as the change from Shikai to Bankai. Tsukaimichi no Ishitachi takes Tsubaki's Bankai form. However, her entire body is now covered with a transluscent metallic sheen. This sheen reflects light as if she were made of polished steel. Most of the colors of her outfit is dulled, but the basics of the colors are still shown through the sheen. Tsukaimichi no Ishitachi forms two swords once more, both mirrors of one another. The two blades have a red cloth that begins to burn immediately upon release. When the cloth is completely burned away, Tsukaimichi no Ishitachi is sealed once more.

» Shikokai Abilities: As a Shikokai, Tsukaimichi no Ishitachi is rather powerful. However, it doesn't gain much new from its Bankai. Tsukaimichi no Ishitachi gains all of the Ken no Kaibō abilities at once. The difference between Ken no Kaibō in Bankai and Shikokai is that it now covers her entire body rather than just her arms. Tsukaimichi no Ishitachi only has one new ability compared to its Bankai form:
Kenseijin (剣聖人; lit. Sword Saint): Kenseijin is the only ability of Tsukaimichi no Ishitachi that can extend the duration of the release. It will extend the release by two posts. When using Kenseijin, Tsubaki transforms into a pair of swords—the design of which matches Tsukaimichi no Ishitachi's swords. To transform, she must be touching someone who is holding nothing at the time. She effectively becomes a substitute Zanpakutou, allowing the user to use her Shikai abilities (albeit at 50% strength). The user must not be in any release whatsoever (the main exception is if a Vizard wields her and has their mask on). She can communicate with the wielder telepathically, much like a Zanpakutou spirit.

I. Application Notes

Previously approved application. There is an entirely new Zanpakutou here, as well as additions to the history.
Credits!
@Kai Lam for Saisenkou

I. Skill Sheet

General Skills

• Durability: Experienced
  
• General Speed: Advanced
  
• Strength: Advanced
  
• Martial Skill: Expert
  

Racial Skills

• Hoho: Advanced
  
• Kidou: Advanced
  
• Zanjutsu: Expert
  
• Hakuda: Experienced
  

Will Skills

• Willpower: Expert
  
• Mental Deduction: Advanced
  
• Pain Endurance: Advanced
  
• Focus: Elite
  

I. Relationships

Midori Hayashi: Midori is, without a doubt, the closest thing to a sister Tsubine has ever had. While they may bicker and fight, the two never stay mad at one another. Midori is one of the few people Tsubine trusts to have her back. That doesn't mean to fight beside her or to be her "wingman." Midori is the one who would tell Tsubine if she screwed up. Her decision-making in the past wasn't always the best, so Midori was a godsend. The unfortunate part is that Midori was always the more mature one (until recently, as now they can probably be called equal in that aspect). This means that Midori has the more unclouded memory. Tsubine doesn't mind the teasing that comes out of it despite her vocal objections. She'd do the same to Midori if Midori weren't so... Midori. To Tsubine, Midori is "the perfect example of imperfect perfection." Tsubine also once had a crush on Midori, though she doesn't like to remember that time.

Shadin Yuudeshi: Shadin and Tsubine have had an extremely rocky friendship. For a while, there was a strange animosity between them. But even through all of that, Tsubine respected Shadin. He was always a go-getter (even if Tsubine felt that the go-getting was sometimes misplaced). In her few trips to the World of the Living during her time as both Captain-Commander and Zero Division member, Tsubine was incredibly impressed with every improvement Shadin made. Beyond that, Shadin was someone who was always looking to the future and how to improve every aspect of his life—and the lives of those around him.

Zin Yuudeshi: Zin and Tsubine have also had a more rocky past than normal. The main difference is that Zin and Tsubine were able to make up. They personally fought during an incident involving some of their friends, but Tsubine can't blame him nowadays. She's actually apologized to Zin for being so angry with him. She did so by training him and giving him a priceless artifact. Zin ended up being one of the people Tsubine truly trusted with bringing about great change along with his brother. However, Zin needed something to keep up with Shadin. No matter how unethical she thought it could be, Tsubine knew the best option was to Hollowfy Zin. It's been a mixed bag for Tsubine, but otherwise Zin is someone Tsubine almost treats like a son.

Erika Masamune: Erika is now the daughter Tsubine never had. They started off as Captain and underling (Tsubine and Erika respectively), but Tsubine grew close to Erika as time went on. After an ill-thought-out advance, Tsubine realized it was more of a familial care than a personal one. This started off as a big sister, little sister type of relationship, but as Tsubine matured it became more of a mother-daughter type. Although, Tsubine would never ask for Erika to call her "mom." She has watched Erika grow up to be a woman she is proud of. She hopes that her student will continue to grow much like the friends Tsubine has known over the years.

Murasaki Kagayaku: Although Murasaki and Tsubine aren't that close, Tsubine does have a certain kind of relationship with Murasaki. Tsubine and Midori (no relation to the above-mentioned Midori), who is Murasaki's mother, have had a strong working relationship while they were both in Zero Division. However, Murasaki's paternal parentage is something with some issues. Tsubine pities Murasaki for that, but she knows that someone can't choose their lineage.