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waits for his sensei at the agreed upon training grounds. His excitement was palpable as he held the scroll containing his newly approved "puppet project" and had the look of an enthusiastic new student! He was eager and ready... his fascination and interests in puppetry had no real, tangible experience to compliment it... Until today, that is.
Learning Puppetry with Sharingdork
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It was that place. The deserts of the Land of Wind. This was where he had decided to take his training to. The man, dressed in black, stepped through the sandstorm to approach his new student, appearing dramatically as a dark figure behind the veil of sand. He was a short man, appearing hunchbacked, with a large straw hat on his head. From the hat, two bells hung, in addition to multiple long white ribbons. Under his mask, the man's face remained a mystery.
Still cursing himself for doing 'that kid' a favor, the young man approached his student-to-be. As he appeared through the sandstorm, standing behind a rock where the sand could not get at the two of them, the man extended an arm from under his cloak. The words spilled from his mouth as a young man's would, appearing to be very elegant and even sophisticated.
Greetings, I shall be your teacher. You wish to become a master of Puppetry such as myself, don't you?
The man beneath his layers grinned a bit. The thought that someone wanted to be like him was something he found enjoyable, either because he was impressed that this kid thought he could do it, or because it was simply absurd, he could not decide. His eyes shrouded in darkness, he looked out through his measures to hide himself at the man before him. His hair, hidden well enough that there was no chance this kid could see it, hung over his eyes, but the man did not move to brush it aside. He would endure, just as his art did. Keeping his hand extended, he waited.
Then why don't you explain to me what exactly a puppet is, how we control it, and its practical uses? I want you to over everything you can, and don't let your answer defile my Art. If you can't respect my Art, or if you can't understand how Puppetry works, I am wasting my time with you.
Still cursing himself for doing 'that kid' a favor, the young man approached his student-to-be. As he appeared through the sandstorm, standing behind a rock where the sand could not get at the two of them, the man extended an arm from under his cloak. The words spilled from his mouth as a young man's would, appearing to be very elegant and even sophisticated.
Greetings, I shall be your teacher. You wish to become a master of Puppetry such as myself, don't you?
The man beneath his layers grinned a bit. The thought that someone wanted to be like him was something he found enjoyable, either because he was impressed that this kid thought he could do it, or because it was simply absurd, he could not decide. His eyes shrouded in darkness, he looked out through his measures to hide himself at the man before him. His hair, hidden well enough that there was no chance this kid could see it, hung over his eyes, but the man did not move to brush it aside. He would endure, just as his art did. Keeping his hand extended, he waited.
Then why don't you explain to me what exactly a puppet is, how we control it, and its practical uses? I want you to over everything you can, and don't let your answer defile my Art. If you can't respect my Art, or if you can't understand how Puppetry works, I am wasting my time with you.
(Now to 1st person RP!)
As I see my sensei arriving, I immediately stand at attention, giving a respectful bow the moment he stands before me. He extends his hand, obviously as a means of greeting.
However, before I shake his hand, I realize that, even if this shinobi was to be my teacher, I must never let my guard down. Puppets were known for their intricate mechanisms and hidden weapons... what if this figure before me was sensei's puppet? Was he testing me, to see if I would naively shake his hand and succumb to the poison of a hidden blade?
... No, I mustn't think such thoughts. Besides, it would be a waste of time for sensei... he came all this way just to kill an average shinobi such as myself? It would be laughable to someone of his caliber.
I greet sensei with a sincere expression as I shake his hand. I release. I was right. It was merely a formality.
After hearing his words, I grow slightly nervous. It was clear his expectations of myself were high. I made a quick, silent promise to not disappoint him, lest I be begging for my life. I steel my resolve, showing little to no signs of my doubts as I speak with assertive confidence with a hint of excitement, giving an interesting tone to my voice.
"Thank you for teaching me, sensei. I hope... no, I promise I shall put in my utmost efforts into learning The Art.
Puppetry, as defined by the textbooks, is a special extension of ninjutsu, and it originated from Sunagakure. It relies on the usage of a Puppet, a wooden, often humanoid construct that the shinobi manipulates using strings of their chakra attached to the puppet itself, for combat purposes.
If I recall, Puppets were originally used for entertainment purposes, such as art performances. Shinobi adapted them for combat purposes. They are wooden constructs, that can take many forms, specific to their purpose, whether humanoid, or shaped like animals. What makes Puppets so unique is their ability to have weapons built in, secret compartments, and the like. In a sense, it is a "weapon wielding many weapons". Some puppets have blades, others have hidden attack capabilities... and many more of the standard fare, such as kunai launchers.
There is a special type of puppet produced by the legendary Akatsuki member, Sasori of the Red Sand. These were called, "Human Puppets", created from the corpses of his fallen foes. What was unique about them was their ability to retain certain abilities like Kekkei Genkai, as seen with the Third Kazekage puppet's Iron Sand techniques. Many argue its severe violations of ethics... but few will deny its incredible effectiveness.
Chakra strings are what allow puppets to perform actions such as move and attack. Standard puppeteers use one chakra string per finger, although masters can manipulate more puppets with less fingers. By contorting their fingers and a series of gestures, the puppeteer can manipulate the Puppet's appendages, activate traps and weapons... and so much more. Making a puppet form hand seals has also been observed as well.
Puppetry essentially equates to having a "partner" on the battlefield with the user. A master can cause the opponent to realize that his fight is actually a 2 vs 1. Puppet tactics include diversion, distraction, confusion... and many more, which I hope to learn under your guidance. In my unbiased opinion, if committed to correctly... it becomes perhaps the most versatile fighting style in our world.
One disadvantage lies in the Art itself. A novice or intermediate user will almost always be focused on the manipulation of their Puppet, leaving them open. Also, Puppets tend to have medium to long ranges, and a Puppeteer will always have to be aware of close range, up close and personal confrontations.
Sensei, this presents most of the extent of my knowledge regarding this Art. Do you have any further insights?"
I finish, hoping sensei would at least find my answer acceptable. I wasn't going to stop now... I had come this far.
As I see my sensei arriving, I immediately stand at attention, giving a respectful bow the moment he stands before me. He extends his hand, obviously as a means of greeting.
However, before I shake his hand, I realize that, even if this shinobi was to be my teacher, I must never let my guard down. Puppets were known for their intricate mechanisms and hidden weapons... what if this figure before me was sensei's puppet? Was he testing me, to see if I would naively shake his hand and succumb to the poison of a hidden blade?
... No, I mustn't think such thoughts. Besides, it would be a waste of time for sensei... he came all this way just to kill an average shinobi such as myself? It would be laughable to someone of his caliber.
I greet sensei with a sincere expression as I shake his hand. I release. I was right. It was merely a formality.
After hearing his words, I grow slightly nervous. It was clear his expectations of myself were high. I made a quick, silent promise to not disappoint him, lest I be begging for my life. I steel my resolve, showing little to no signs of my doubts as I speak with assertive confidence with a hint of excitement, giving an interesting tone to my voice.
"Thank you for teaching me, sensei. I hope... no, I promise I shall put in my utmost efforts into learning The Art.
Puppetry, as defined by the textbooks, is a special extension of ninjutsu, and it originated from Sunagakure. It relies on the usage of a Puppet, a wooden, often humanoid construct that the shinobi manipulates using strings of their chakra attached to the puppet itself, for combat purposes.
If I recall, Puppets were originally used for entertainment purposes, such as art performances. Shinobi adapted them for combat purposes. They are wooden constructs, that can take many forms, specific to their purpose, whether humanoid, or shaped like animals. What makes Puppets so unique is their ability to have weapons built in, secret compartments, and the like. In a sense, it is a "weapon wielding many weapons". Some puppets have blades, others have hidden attack capabilities... and many more of the standard fare, such as kunai launchers.
There is a special type of puppet produced by the legendary Akatsuki member, Sasori of the Red Sand. These were called, "Human Puppets", created from the corpses of his fallen foes. What was unique about them was their ability to retain certain abilities like Kekkei Genkai, as seen with the Third Kazekage puppet's Iron Sand techniques. Many argue its severe violations of ethics... but few will deny its incredible effectiveness.
Chakra strings are what allow puppets to perform actions such as move and attack. Standard puppeteers use one chakra string per finger, although masters can manipulate more puppets with less fingers. By contorting their fingers and a series of gestures, the puppeteer can manipulate the Puppet's appendages, activate traps and weapons... and so much more. Making a puppet form hand seals has also been observed as well.
Puppetry essentially equates to having a "partner" on the battlefield with the user. A master can cause the opponent to realize that his fight is actually a 2 vs 1. Puppet tactics include diversion, distraction, confusion... and many more, which I hope to learn under your guidance. In my unbiased opinion, if committed to correctly... it becomes perhaps the most versatile fighting style in our world.
One disadvantage lies in the Art itself. A novice or intermediate user will almost always be focused on the manipulation of their Puppet, leaving them open. Also, Puppets tend to have medium to long ranges, and a Puppeteer will always have to be aware of close range, up close and personal confrontations.
Sensei, this presents most of the extent of my knowledge regarding this Art. Do you have any further insights?"
I finish, hoping sensei would at least find my answer acceptable. I wasn't going to stop now... I had come this far.
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As the man grabbed the black-robed man's hand, a sharp dagger shot from his wrist, piercing the skin of the man who had come to train.
That was a powerful poison you were just injected with, kid... If you cannot meet my expectations, you won't receive the antidote. Now talk.
The man, his face obscured by his straw hat, then listened to the man speak for a while on everything he could think of regarding Puppetry. Grinning beneath his disguise, the man spoke after.
You seem to have a good "text-book" grasp of the concepts, young one... Here.
Reaching into this black cloak, the man made the appearance as though he were searching for something in a pocket. As he rummaged, dust sifted from his cloak, revealing the red clouds. With his hand hidden, the man's wrist moved as if on a hinge, and from a hidden compartment in his arm a root slid out. Grabbing it with his hand as it replaced itself on his wrist, Sasori removed his hand from his cloak.
Bite on this. It will secrete a small amount of a substance which, as it enters your body, will stop the poison from spreading. So long as you bite on it, and it's juice flows down your throat, the root will act as a temporary antidote. Ease up with your jaw strength, and you will certainly die. You will be put in a tricky position while fighting; if you can keep your cool, and concentration, you should be fine. So long as you can keep a steady amount of force on that root, starting just barely light enough to hold it in your mouth and increasing very slowly, you should survive long enough to earn a second.
But as you're concentrating on saving your life, I'm going to ask you to summon all of your puppets. We can't continue with proper lessons until you have puppets to manipulate. So, show them to me; unless the poison has already seized your muscles, making you unable to move while you writhe on the ground, your time falling away like sand in an hourglass...
That was a powerful poison you were just injected with, kid... If you cannot meet my expectations, you won't receive the antidote. Now talk.
The man, his face obscured by his straw hat, then listened to the man speak for a while on everything he could think of regarding Puppetry. Grinning beneath his disguise, the man spoke after.
You seem to have a good "text-book" grasp of the concepts, young one... Here.
Reaching into this black cloak, the man made the appearance as though he were searching for something in a pocket. As he rummaged, dust sifted from his cloak, revealing the red clouds. With his hand hidden, the man's wrist moved as if on a hinge, and from a hidden compartment in his arm a root slid out. Grabbing it with his hand as it replaced itself on his wrist, Sasori removed his hand from his cloak.
Bite on this. It will secrete a small amount of a substance which, as it enters your body, will stop the poison from spreading. So long as you bite on it, and it's juice flows down your throat, the root will act as a temporary antidote. Ease up with your jaw strength, and you will certainly die. You will be put in a tricky position while fighting; if you can keep your cool, and concentration, you should be fine. So long as you can keep a steady amount of force on that root, starting just barely light enough to hold it in your mouth and increasing very slowly, you should survive long enough to earn a second.
But as you're concentrating on saving your life, I'm going to ask you to summon all of your puppets. We can't continue with proper lessons until you have puppets to manipulate. So, show them to me; unless the poison has already seized your muscles, making you unable to move while you writhe on the ground, your time falling away like sand in an hourglass...
(Sensei y u do this :T_T: )
Damn! As I pulled my hand away, a sharp prick pierces into my skin. In my moment of highest vulnerability, sensei had exploited it and given a whole new dimension to my training regimen.
I notice the Red Clouds and distinct characteristics on sensei. Although I already had my suspicions from the ringing bells earlier, this confirms it; Sasori-sama himself had come to teach me... this would truly be quite the challenge.
His legendary poison, known for being some of the most potent, quickly freezes up my arm as it gives a surging sensation throughout my body. It's both warm and cold at the same time... my own senses start to become fuzzy...
As I hear sensei's words, I barely register them. I reach out with my stabbed hand, blood dripping from a clean hole, and with shaking fingers, I carefully take the root.
Biting down on it, I feel a few drips of the root's juice trickle down my throat. The taste is indescribable. Suddenly, my vision clears, my smell returns, and my ears give that distinctive "pop". As quickly as the poison had started eroding at my life force, the root had reversed the "symptoms of death", as if it were some miracle drug.
Taking a moment to gain my bearing, I keep my molars bitten down on the root, at a precise, steady pressure to ensure that the rate of antidote seepage was sustainable enough to last me whilst maintaining my regained homeostasis.
"I'm not going to die that easily, sensei. Sorry to disappoint." I say with as much strength that I could muster, given my current condition.
I reveal the scroll I had been holding earlier. Placing it on the ground, I perform a few hand seals and slam my slightly bloodied hand onto the scroll. A poof of smoke...
And I summon my singular puppet... Izanagi-no-Okami.
"I'm ready, sensei."
Damn! As I pulled my hand away, a sharp prick pierces into my skin. In my moment of highest vulnerability, sensei had exploited it and given a whole new dimension to my training regimen.
I notice the Red Clouds and distinct characteristics on sensei. Although I already had my suspicions from the ringing bells earlier, this confirms it; Sasori-sama himself had come to teach me... this would truly be quite the challenge.
His legendary poison, known for being some of the most potent, quickly freezes up my arm as it gives a surging sensation throughout my body. It's both warm and cold at the same time... my own senses start to become fuzzy...
As I hear sensei's words, I barely register them. I reach out with my stabbed hand, blood dripping from a clean hole, and with shaking fingers, I carefully take the root.
Biting down on it, I feel a few drips of the root's juice trickle down my throat. The taste is indescribable. Suddenly, my vision clears, my smell returns, and my ears give that distinctive "pop". As quickly as the poison had started eroding at my life force, the root had reversed the "symptoms of death", as if it were some miracle drug.
Taking a moment to gain my bearing, I keep my molars bitten down on the root, at a precise, steady pressure to ensure that the rate of antidote seepage was sustainable enough to last me whilst maintaining my regained homeostasis.
"I'm not going to die that easily, sensei. Sorry to disappoint." I say with as much strength that I could muster, given my current condition.
I reveal the scroll I had been holding earlier. Placing it on the ground, I perform a few hand seals and slam my slightly bloodied hand onto the scroll. A poof of smoke...
And I summon my singular puppet... Izanagi-no-Okami.
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"I'm ready, sensei."
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Is that your only puppet? Then accept this donation...
Pulling out a scroll, Sasori summoned three familiar puppets.
They are a famous trio known as Crow, Black Ant, and Salamander. Treat them well, young puppeteer... I have no more use for them.
The back of Sasori's Akatsuki cloak adjusted itself as something beneath it moved, but he payed no attention to his own movements, staring at his dying student.
Now, this is the most basic puppetry technique; concentrate chakra to your fingers, and then use your shape manipulate to transform this chakra into threads. Extend the threaded chakra from your fingertips onto the joints of any of these four puppets. Please only choose one, as a novice puppeteer, do not attempt what you cannot do. If you cannot do this, you are not worthy of what I have for you...
Holding up his other hand, Sasori revealed a second root. What his student had now had to be running out, and even with the little left in the root, there was no way everything was fine. Small symptoms of the poison would be starting to appear within the kid's body, and if he didn't act soon, the root would be useless any time now. Smirking beneath his layers, Sasori waited to see if his student could, in fact, do what was asked of him.
Pulling out a scroll, Sasori summoned three familiar puppets.
(Karasu) Crow
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Crow is the very first puppet we see in the series. It was created by Sasori, but is later used by Kankurou. Crow is a three eyed, four armed humanoid. Crow is one of the more basic puppets, but he is able to detach any of its body parts for deadly attacks, almost every joint having a blade at the end, allowing Crow to shoot his arms towards the opponent, and then have them return back to it. Even his head has a blade that can be extended out from the bottom of its neck when detached. This ability made it and Black Ant a very deadly combination. It also has the ability, like most puppets do, to release poison-tipped darts and smokescreens, which sometimes have poisonous gas mixed with them.
Note: Can only be used by a Suna puppet user
(Kuroari) Black Ant
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Black Ant, created by Sasori, is a puppet that is often used in conjunction with Crow and, later on, Salamander. It has a bucket-shaped face with two red horns and a total of six arms. It, like Crow, has three eyes. Its body resembles a very large barrel, and it is hollow on the inside, making its main use to be that of trapping, while weapons enter the many slots on its body. At any time, Black Ant can literally open its stomach, and trap an opponent, able to extend the two halves of its stomach so that it stretches out and over the opponent from a very fair distance (approximately mid range) and then retracts the stomach back to its original form, closing it with the opponent inside. Its arm segments contain hidden saw-blades. Like Crow, Black Ant can detach its arms for attacks.
Note: Can only be used by a Suna puppet user
(Sanshōuo) Salamander
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Salamander is a defensive puppet, though not on the level of defense as that of Hiruko. Salamander, as its name suggests, is built in the form of a large salamander, being one of the largest puppets seen thus far, and though it is not more powerful defensively than Hiruko, it is larger than the other puppet. Salamander is able to rise up a large area on its back to be used as a shield, making a black shield over its head. It, like some other puppets, is hollow, and it can open its back at any time and then rise up its large tail over its head, stretching it out and therefore allowing the puppet user to jump inside of it for protection. Salamander can also spew out fire equal to C rank. Salamander can only be destroyed by one who knows its weak spots, being a weak joint on its side that holds the shield in place and afterwards simply striking it on its back, or by a move of A rank or higher.
Note: Can only be used by a Suna puppet user
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Crow is the very first puppet we see in the series. It was created by Sasori, but is later used by Kankurou. Crow is a three eyed, four armed humanoid. Crow is one of the more basic puppets, but he is able to detach any of its body parts for deadly attacks, almost every joint having a blade at the end, allowing Crow to shoot his arms towards the opponent, and then have them return back to it. Even his head has a blade that can be extended out from the bottom of its neck when detached. This ability made it and Black Ant a very deadly combination. It also has the ability, like most puppets do, to release poison-tipped darts and smokescreens, which sometimes have poisonous gas mixed with them.
Note: Can only be used by a Suna puppet user
(Kuroari) Black Ant
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Black Ant, created by Sasori, is a puppet that is often used in conjunction with Crow and, later on, Salamander. It has a bucket-shaped face with two red horns and a total of six arms. It, like Crow, has three eyes. Its body resembles a very large barrel, and it is hollow on the inside, making its main use to be that of trapping, while weapons enter the many slots on its body. At any time, Black Ant can literally open its stomach, and trap an opponent, able to extend the two halves of its stomach so that it stretches out and over the opponent from a very fair distance (approximately mid range) and then retracts the stomach back to its original form, closing it with the opponent inside. Its arm segments contain hidden saw-blades. Like Crow, Black Ant can detach its arms for attacks.
Note: Can only be used by a Suna puppet user
(Sanshōuo) Salamander
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Salamander is a defensive puppet, though not on the level of defense as that of Hiruko. Salamander, as its name suggests, is built in the form of a large salamander, being one of the largest puppets seen thus far, and though it is not more powerful defensively than Hiruko, it is larger than the other puppet. Salamander is able to rise up a large area on its back to be used as a shield, making a black shield over its head. It, like some other puppets, is hollow, and it can open its back at any time and then rise up its large tail over its head, stretching it out and therefore allowing the puppet user to jump inside of it for protection. Salamander can also spew out fire equal to C rank. Salamander can only be destroyed by one who knows its weak spots, being a weak joint on its side that holds the shield in place and afterwards simply striking it on its back, or by a move of A rank or higher.
Note: Can only be used by a Suna puppet user
The back of Sasori's Akatsuki cloak adjusted itself as something beneath it moved, but he payed no attention to his own movements, staring at his dying student.
Now, this is the most basic puppetry technique; concentrate chakra to your fingers, and then use your shape manipulate to transform this chakra into threads. Extend the threaded chakra from your fingertips onto the joints of any of these four puppets. Please only choose one, as a novice puppeteer, do not attempt what you cannot do. If you cannot do this, you are not worthy of what I have for you...
Holding up his other hand, Sasori revealed a second root. What his student had now had to be running out, and even with the little left in the root, there was no way everything was fine. Small symptoms of the poison would be starting to appear within the kid's body, and if he didn't act soon, the root would be useless any time now. Smirking beneath his layers, Sasori waited to see if his student could, in fact, do what was asked of him.
Feel free to Role-Play realistically; I won't let you die, and I have a plan if you ever reach a point where it becomes "there's nothing I can do... I can't do this fast enough, and the poison kills me. x-x". Not saying you should do that, but if you ever feel like being interesting (perhaps later on)... You won't die, and I'll do my best to make sure you don't end up in the hospital either...
(Sensei, I can't use those as per the description, I'm not a Suna Puppeteer :| )
The steady drip of the root was keeping me stable, but there was a noticeable shrinking of the root itself. I tried my best to maintain the rate of extraction and curing. Upon seeing sensei's second root, I laugh wryly, with my voice quivering slightly. If I didn't move quickly, I'd be dead; and my life depended on such a small, seemingly insignificant object. The irony was biting; for an art lauded as "eternal", I wasn't doing a very good job at living up to it.
I notice the trio of puppets that sensei had summoned before me. Taking a moment to admire them, alongside my own, I begin to realize their significance as works of art. Perhaps my returning symptoms, combined with my increasing fatigue, sweaty hands, and blurring vision as a result of the antidote beginning to run out, had turned me delirious.
Either way, my determination wasn't going to bow down to the "mistress of death", tempting as her grip seemed.
I speak. "Sensei, if you don't mind, I'd rather try with my own puppet. After all, what point is there in having pride in your own art without being able to apply it?"
Closing my eyes, I focus my chakra to the tips of my fingers. The distinct, tingling sensation makes it feel like my fingertips are about to burst with residual energy. I then apply shape manipulation, allowing the chakra inside my fingers to leak out. They look like multiple, chaotic tendrils at first, squirming around, as if they were alive. I concentrate, allowing my mind to clear. They straighten out, forming long, thing, and almost invisible chakra strings, ten in total, one for each finger.
These strings make their way to my immobile creation, positioning themselves by attaching to very specific points. Since my puppet was humanoid, where it attached could be compared to human anatomy quite easily:
1. The back of the puppet's head
2. Its left and right shoulders
3. The left and right elbows
4. Both wrists
5. Behind the upper chest area of the puppet
6. Halfway down its back ("spinal cord")
7. Both thighs
8. Both calves
9. Both feet
10. And one on the spear it held.
I pulse my chakra through Izanagi. Its eyes glow a distinct, red color, as if "activated". The hollow crevices that link the joints of the puppet together also glow as well, underneath the woodwork. Chakra flows through the entire construct, and I move my hands along with it. The puppet makes a few simple movements... nothing too complex, as it merely follows the direction of my hands. It seems I'd have to learn how to fine tune specific joint movements and the hidden mechanisms within it.
"Sensei... there, I did it." My breathing intensifies as I begin to gasp for more air, realizing the antidote was running out.
The steady drip of the root was keeping me stable, but there was a noticeable shrinking of the root itself. I tried my best to maintain the rate of extraction and curing. Upon seeing sensei's second root, I laugh wryly, with my voice quivering slightly. If I didn't move quickly, I'd be dead; and my life depended on such a small, seemingly insignificant object. The irony was biting; for an art lauded as "eternal", I wasn't doing a very good job at living up to it.
I notice the trio of puppets that sensei had summoned before me. Taking a moment to admire them, alongside my own, I begin to realize their significance as works of art. Perhaps my returning symptoms, combined with my increasing fatigue, sweaty hands, and blurring vision as a result of the antidote beginning to run out, had turned me delirious.
Either way, my determination wasn't going to bow down to the "mistress of death", tempting as her grip seemed.
I speak. "Sensei, if you don't mind, I'd rather try with my own puppet. After all, what point is there in having pride in your own art without being able to apply it?"
Closing my eyes, I focus my chakra to the tips of my fingers. The distinct, tingling sensation makes it feel like my fingertips are about to burst with residual energy. I then apply shape manipulation, allowing the chakra inside my fingers to leak out. They look like multiple, chaotic tendrils at first, squirming around, as if they were alive. I concentrate, allowing my mind to clear. They straighten out, forming long, thing, and almost invisible chakra strings, ten in total, one for each finger.
These strings make their way to my immobile creation, positioning themselves by attaching to very specific points. Since my puppet was humanoid, where it attached could be compared to human anatomy quite easily:
1. The back of the puppet's head
2. Its left and right shoulders
3. The left and right elbows
4. Both wrists
5. Behind the upper chest area of the puppet
6. Halfway down its back ("spinal cord")
7. Both thighs
8. Both calves
9. Both feet
10. And one on the spear it held.
I pulse my chakra through Izanagi. Its eyes glow a distinct, red color, as if "activated". The hollow crevices that link the joints of the puppet together also glow as well, underneath the woodwork. Chakra flows through the entire construct, and I move my hands along with it. The puppet makes a few simple movements... nothing too complex, as it merely follows the direction of my hands. It seems I'd have to learn how to fine tune specific joint movements and the hidden mechanisms within it.
"Sensei... there, I did it." My breathing intensifies as I begin to gasp for more air, realizing the antidote was running out.
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... I wasn't even aware that was possible. My apologies; I should have re-read your bio and the Puppetry rules.
Hm. Not appreciative of puppets made the by master himself? How pathetic...
Reverse-summoning the puppets he had summoned, Sasori tossed the second root towards his student.
You did pretty good, for a wannabe. Now, there are only so many things I can teach you because everything else are secret Sunagakure technique. One of these techniques you can learn essentially entails breaking your puppet. By forcing your chakra through your puppet's arm, you can cut its arm into four pieces, with a thin plank of wood remaining to hold its wrist to its body. These four pieces then extend and your chakra, channeled from your threads into the puppet, then the chakra fills the gaps between each part of your puppet's arm to create a rudimentary chakra shield.
Hm. Not appreciative of puppets made the by master himself? How pathetic...
Reverse-summoning the puppets he had summoned, Sasori tossed the second root towards his student.
You did pretty good, for a wannabe. Now, there are only so many things I can teach you because everything else are secret Sunagakure technique. One of these techniques you can learn essentially entails breaking your puppet. By forcing your chakra through your puppet's arm, you can cut its arm into four pieces, with a thin plank of wood remaining to hold its wrist to its body. These four pieces then extend and your chakra, channeled from your threads into the puppet, then the chakra fills the gaps between each part of your puppet's arm to create a rudimentary chakra shield.
If you have any questions at any time, ask them.
(Wait... *rushes to quickly change bio* ... look sensei, I'm from Suna! Ha... ha... oh, it didn't work? 
For posterity's sake, may I learn all the jutsu in order to master all the puppetry techniques? I will update my bio to include some Suna history after we have completed this training... or in the future, when I create a Suna origin puppeteer bio. Is that acceptable?)
"They are magnificent, sensei. But mark my words, I will become as accomplished as you one day." I say this with conviction, sincere and determined at the same time. It almost sounded hot-headed and idealistic... that sickening personality trait found in archetypal heroes.
(I assume I performed this technique before your post above
(... and now, we're going to do this one. Am I right?)
I channel my chakra through the strings attached to my puppet. The strings engorge, surging with chakra. The strings attached to its left arm in particular, are the focus, as I intended to open up I-n-O's left arm to form the chakra shield.
The puppet's left arm twitches and is held forward, in front of its body. Then, four distinct segments which had created the forearm construct are opened, forming a cross shape of wooden segments. Underneath these partitions lies a simple, thin wood plank; the "skeleton" of the puppet, holding its structure together.
"Sensei... I've done... 'significant research' on the structure of Suna puppets and their mechanisms. Of course, getting some help from other Suna shinobi in my initial exploits really helped me to learn the art of making them."
My channeled chakra flows through the open left arm, now forming a distinct, round, planar shield that connects the four separated segments into a simple chakra shield. Quick and efficient.
"Sensei, exactly what are the defensive capabilities of this shield? As in specifics? Because my puppet also has some very special properties that I may find very helpful to incorporate something like this into."
For posterity's sake, may I learn all the jutsu in order to master all the puppetry techniques? I will update my bio to include some Suna history after we have completed this training... or in the future, when I create a Suna origin puppeteer bio. Is that acceptable?)
"They are magnificent, sensei. But mark my words, I will become as accomplished as you one day." I say this with conviction, sincere and determined at the same time. It almost sounded hot-headed and idealistic... that sickening personality trait found in archetypal heroes.
(I assume I performed this technique before your post above
(Kugutsu No Jutsu) - Puppetry Technique
Rank: D
Type: Attack/Defense/Supplementary
Range: Short-Mid
Chakra Cost: 10(-4 each turn its used after wards)
Damage Points: N/A
Description: The user makes threads of chakra that are used to control puppets.
Rank: D
Type: Attack/Defense/Supplementary
Range: Short-Mid
Chakra Cost: 10(-4 each turn its used after wards)
Damage Points: N/A
Description: The user makes threads of chakra that are used to control puppets.
(... and now, we're going to do this one. Am I right?)
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I channel my chakra through the strings attached to my puppet. The strings engorge, surging with chakra. The strings attached to its left arm in particular, are the focus, as I intended to open up I-n-O's left arm to form the chakra shield.
The puppet's left arm twitches and is held forward, in front of its body. Then, four distinct segments which had created the forearm construct are opened, forming a cross shape of wooden segments. Underneath these partitions lies a simple, thin wood plank; the "skeleton" of the puppet, holding its structure together.
"Sensei... I've done... 'significant research' on the structure of Suna puppets and their mechanisms. Of course, getting some help from other Suna shinobi in my initial exploits really helped me to learn the art of making them."
My channeled chakra flows through the open left arm, now forming a distinct, round, planar shield that connects the four separated segments into a simple chakra shield. Quick and efficient.
"Sensei, exactly what are the defensive capabilities of this shield? As in specifics? Because my puppet also has some very special properties that I may find very helpful to incorporate something like this into."
Sharingdork
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Nah. I'll teach you basic Puppet Ninjutsu, and when your bio originates from Suna, you may return. <.<
Defensive capabilities? The shield is pure chakra, acting as pure chakra would act when confronted with opposing forces. Normal weapons are useless, while most elemental techniques can overpower the shield. It is to be used wisely and in the correct circumstances, or else the technique shall fail you, and you shall fail your puppet.
Now, are there any other questions? Other drawbacks aside from those I descried you can come up with? Possible creative ways to use this; being a puppeteer is all about being creative, kid. Without your imagination, you will be struck down without effort.
Defensive capabilities? The shield is pure chakra, acting as pure chakra would act when confronted with opposing forces. Normal weapons are useless, while most elemental techniques can overpower the shield. It is to be used wisely and in the correct circumstances, or else the technique shall fail you, and you shall fail your puppet.
Now, are there any other questions? Other drawbacks aside from those I descried you can come up with? Possible creative ways to use this; being a puppeteer is all about being creative, kid. Without your imagination, you will be struck down without effort.
(Is there a jutsu description for this tech? Or do I freeform it in battles? Just curious.)
"Sensei, being that the shield is chakra-based, wouldn't it be susceptible to special weapons or techniques that absorb chakra, like the Preta Path of a Rinnegan wielder?"
"Furthermore, if I channel more chakra into the mechanism, does my shield become larger and therefore able to repel more attacks?"
"I could think of a special combination with this jutsu, sensei. Perhaps, if I were able to dislodge the limbs of my puppet and place them around the battlefield, I could create multiple chakra shields or make one large one that acts as a barrier or some form of large scale protection!"
"My puppet has a very special property that allows me to channel elemental chakra into it, synchronizing myself and the puppet to take on very... 'special' characteristics. Allow me to demonstrate, sensei."
With the shield still active on Izanagi-no-Okami, I then channel molded Katon chakra from within my own body through the chakra strings, and into the joints of the puppet. The chakra changes from a distinct blue hue to a slightly red one... reminiscent of the chakra molded to create a fire technique. A very faint, red aura surrounds me and the puppet.
I had activated "Fire Mode" on my puppet. (please see the bolded/italicized part in the below description for a further explanation.)
"This essentially mitigates the weaknesses to elemental techniques that you mentioned, sensei. While it can't tank the strongest of attacks, I take reduced damage... and this chakra shield has taken on the properties of fire in order to create a defense against that element. A 'firewall', in a sense."
"Go ahead, sensei. I request you try and use a basic fire jutsu against me. I will not dodge, for I want to test the capability of this mechanism."
"Sensei, being that the shield is chakra-based, wouldn't it be susceptible to special weapons or techniques that absorb chakra, like the Preta Path of a Rinnegan wielder?"
"Furthermore, if I channel more chakra into the mechanism, does my shield become larger and therefore able to repel more attacks?"
"I could think of a special combination with this jutsu, sensei. Perhaps, if I were able to dislodge the limbs of my puppet and place them around the battlefield, I could create multiple chakra shields or make one large one that acts as a barrier or some form of large scale protection!"
"My puppet has a very special property that allows me to channel elemental chakra into it, synchronizing myself and the puppet to take on very... 'special' characteristics. Allow me to demonstrate, sensei."
With the shield still active on Izanagi-no-Okami, I then channel molded Katon chakra from within my own body through the chakra strings, and into the joints of the puppet. The chakra changes from a distinct blue hue to a slightly red one... reminiscent of the chakra molded to create a fire technique. A very faint, red aura surrounds me and the puppet.
I had activated "Fire Mode" on my puppet. (please see the bolded/italicized part in the below description for a further explanation.)
Izanagi-no-Okami
Type: Weapon (Puppet)
Rank: A-rank
Range: N/A
Chakra: 30 (-10 chakra per turn to keep active)
Damage: N/A
Description:
Yu Narukami, while training in the standard shinobi arts, wanted to create something that would distinguish himself. After watching a puppet show in Suna, he was struck with inspiration. Taking it upon himself to understand the Art of Puppetry, Yu spent his time doing research and under the mentorship of a travelling puppeteer.
While his initial experiments and projects were fruitful, Yu wanted something that would better suit his desired style of fighting. Plus, he didn't want his puppet to just be another run-of-the-mill piece, either. He then remembered something from his training, in which his senseis would give him a piece of chakra paper to channel his elemental affinities through. It was at that moment, where Yu was struck with inspiration. Paper was made of wood... and wood could be used to make puppets.
And thus, after months of hard work and trials, his magnum opus was complete, affectionately named after the Japanese God, Izanagi-no-Okami.
Izanagi-no-Okami is like any standard puppet, but because of its unique composition (being the same material used to make chakra paper), it holds very distinct properties. By channeling his own elemental chakra through the chakra strings, Yu is able to imbue his puppet with certain interchangeable "elemental modes", and enhance his own ninjutsu. The link they share as puppet and puppeteer strengthens, and Yu finally has a reflection of his own work; his Persona.
"Fire Mode"
- In this mode, Izanagi-no-Okami and the user gain the strength of fire. This means that fire ninjutsu used in conjunction with the puppet will increase in strength, more specifically, +10 damage. This also allows the user to take less damage from any opponent's fire ninjutsu, more specifically, -10 damage. However, as a tradeoff, the user will take +20 damage from any water ninjutsu, its natural weakness.
"Water Mode"
- Casted water ninjutsu with the puppet does +10 damage; and the user takes -10 damage from water ninjutsu. Earth jutsus from the opponent do +20 damage to the user.
"Earth Mode"
- Casted Earth Jutsu with the puppet does +10 damage; and the user takes -10 damage from Earth ninjutsu. Lightning jutsu from the opponent does +20 damage to the user.
"Lightning Mode"
- Casted Lightning Jutsu with the puppet does +10 damage; and the user takes -10 damage from Lightning ninjutsu. Wind jutsu from the opponent does +20 damage to the user.
"Wind Mode"
- Casted Wind Jutsu with the puppet does double damage; and the user takes -10 damage from Wind ninjutsu. Fire jutsu from the opponent does +20 damage to the user.
The puppet also has a basic spear with a circular hilt/guard that can be used for basic attacks such as swings and slashes.
Notes:
- Bio character mentioned in description=
- Can only be taught by Ausar
- Only ONE "mode" can be active at a time; switching "modes" uses up a move.
- Being in a certain "mode" restricts the user to using only that element until he switches "modes", or if he deactivates a "mode". So, if he is in "Water Mode", he can only use Water ninjutsu. However, non-elemental nin, tai, and gen are still usable.
- The Puppet is A-rank, so therefore, only elemental jutsu of ranks up to A can apply the damage modifier. However, strength and weakness relationships are unaffected; only damage levels. This means, that S-rank and above elemental jutsus cannot use this damage modifier. For example, if the user used an S-rank Lightning in "Lightning Mode", the damage is unchanged.
- Range: Only jutsu with short/mid ranges can apply a damage modifier. So, for example, if the user uses an A ranked jutsu with a long range, even if it fits the criteria for rank, it cannot apply the damage modifier because of its range.
- Defensive: Izanagi-no-Okami will only defend against jutsu up to A-rank. This means that any S-rank jutsu and above will be unaffected by resistance changes. So, for example, if the user were in "Fire Mode", he could only defend up to A-rank fire ninjutsu from an opponent. If the opponent uses an S-rank fire jutsu or above, the damage resistance is not applied.
- Weaknesses: If the opponent uses a Jutsu that is strong against the current mode, It will do +20 damage to the user of the puppet, regardless of rank.
- Resistances: If the opponent uses a jutsu that is weak against the current mode, standard elemental relationships apply; no changes.
- This puppet DOES NOT defend against Tai, Gen, non-elemental Nin, KG, CE, or anything outside the Basic 5. They all do their standard damage and effects.
Type: Weapon (Puppet)
Rank: A-rank
Range: N/A
Chakra: 30 (-10 chakra per turn to keep active)
Damage: N/A
Description:
Yu Narukami, while training in the standard shinobi arts, wanted to create something that would distinguish himself. After watching a puppet show in Suna, he was struck with inspiration. Taking it upon himself to understand the Art of Puppetry, Yu spent his time doing research and under the mentorship of a travelling puppeteer.
While his initial experiments and projects were fruitful, Yu wanted something that would better suit his desired style of fighting. Plus, he didn't want his puppet to just be another run-of-the-mill piece, either. He then remembered something from his training, in which his senseis would give him a piece of chakra paper to channel his elemental affinities through. It was at that moment, where Yu was struck with inspiration. Paper was made of wood... and wood could be used to make puppets.
And thus, after months of hard work and trials, his magnum opus was complete, affectionately named after the Japanese God, Izanagi-no-Okami.
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Izanagi-no-Okami is like any standard puppet, but because of its unique composition (being the same material used to make chakra paper), it holds very distinct properties. By channeling his own elemental chakra through the chakra strings, Yu is able to imbue his puppet with certain interchangeable "elemental modes", and enhance his own ninjutsu. The link they share as puppet and puppeteer strengthens, and Yu finally has a reflection of his own work; his Persona.
"Fire Mode"
- In this mode, Izanagi-no-Okami and the user gain the strength of fire. This means that fire ninjutsu used in conjunction with the puppet will increase in strength, more specifically, +10 damage. This also allows the user to take less damage from any opponent's fire ninjutsu, more specifically, -10 damage. However, as a tradeoff, the user will take +20 damage from any water ninjutsu, its natural weakness.
"Water Mode"
- Casted water ninjutsu with the puppet does +10 damage; and the user takes -10 damage from water ninjutsu. Earth jutsus from the opponent do +20 damage to the user.
"Earth Mode"
- Casted Earth Jutsu with the puppet does +10 damage; and the user takes -10 damage from Earth ninjutsu. Lightning jutsu from the opponent does +20 damage to the user.
"Lightning Mode"
- Casted Lightning Jutsu with the puppet does +10 damage; and the user takes -10 damage from Lightning ninjutsu. Wind jutsu from the opponent does +20 damage to the user.
"Wind Mode"
- Casted Wind Jutsu with the puppet does double damage; and the user takes -10 damage from Wind ninjutsu. Fire jutsu from the opponent does +20 damage to the user.
The puppet also has a basic spear with a circular hilt/guard that can be used for basic attacks such as swings and slashes.
Notes:
- Bio character mentioned in description=
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- Can only be taught by Ausar
- Only ONE "mode" can be active at a time; switching "modes" uses up a move.
- Being in a certain "mode" restricts the user to using only that element until he switches "modes", or if he deactivates a "mode". So, if he is in "Water Mode", he can only use Water ninjutsu. However, non-elemental nin, tai, and gen are still usable.
- The Puppet is A-rank, so therefore, only elemental jutsu of ranks up to A can apply the damage modifier. However, strength and weakness relationships are unaffected; only damage levels. This means, that S-rank and above elemental jutsus cannot use this damage modifier. For example, if the user used an S-rank Lightning in "Lightning Mode", the damage is unchanged.
- Range: Only jutsu with short/mid ranges can apply a damage modifier. So, for example, if the user uses an A ranked jutsu with a long range, even if it fits the criteria for rank, it cannot apply the damage modifier because of its range.
- Defensive: Izanagi-no-Okami will only defend against jutsu up to A-rank. This means that any S-rank jutsu and above will be unaffected by resistance changes. So, for example, if the user were in "Fire Mode", he could only defend up to A-rank fire ninjutsu from an opponent. If the opponent uses an S-rank fire jutsu or above, the damage resistance is not applied.
- Weaknesses: If the opponent uses a Jutsu that is strong against the current mode, It will do +20 damage to the user of the puppet, regardless of rank.
- Resistances: If the opponent uses a jutsu that is weak against the current mode, standard elemental relationships apply; no changes.
- This puppet DOES NOT defend against Tai, Gen, non-elemental Nin, KG, CE, or anything outside the Basic 5. They all do their standard damage and effects.
"This essentially mitigates the weaknesses to elemental techniques that you mentioned, sensei. While it can't tank the strongest of attacks, I take reduced damage... and this chakra shield has taken on the properties of fire in order to create a defense against that element. A 'firewall', in a sense."
"Go ahead, sensei. I request you try and use a basic fire jutsu against me. I will not dodge, for I want to test the capability of this mechanism."
Sharingdork
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There is no need to attack you further; by imbuing your puppet with elemental chakra, you can adjust the elemental affinity of the shield and make it fight on par with other elemental techniques of that rank and element.
Yes, the chakra may be absorbed, and no, you cannot grow the shield by forcing more chakra. And dismantling your puppet to create multiple shields sounds like a fair idea, if you remember that it each time you open a shield you're using the technique over and over. Now, if you have no more questions, we shall move on.
Moving close to his student, Sasori extended a blade from his wrist and stabbed his student in the left forearm.
That was a dose of my antidote; you don't need the root anymore. Now, with that begining to move throughout your system, this next technique takes advantage of basic mechanics nearly all puppets have... Though, seeing as you're a puppeteer from somewhere outside of the Land of Wind, your puppet may be too inferior to utilize this technique. But we shall see.
He has a compartment in his throat to store smoke bombs and senbon, correct? This technique essentially makes you drop your puppets jaw to fully-open, and then use your chakra to shoot out a torrent of senbon from the compartment in his throat. The chakra-propelled needles move at speeds just surpassing what can be thrown by a normal shinobi, and are generally poisoned, if your puppet is outfitted with such weapons. Now, if your puppet meets these requirements, why don't you create this barrage of needles? Aim them at me if you wish; I can take it...
Yes, the chakra may be absorbed, and no, you cannot grow the shield by forcing more chakra. And dismantling your puppet to create multiple shields sounds like a fair idea, if you remember that it each time you open a shield you're using the technique over and over. Now, if you have no more questions, we shall move on.
Now...
Moving close to his student, Sasori extended a blade from his wrist and stabbed his student in the left forearm.
That was a dose of my antidote; you don't need the root anymore. Now, with that begining to move throughout your system, this next technique takes advantage of basic mechanics nearly all puppets have... Though, seeing as you're a puppeteer from somewhere outside of the Land of Wind, your puppet may be too inferior to utilize this technique. But we shall see.
He has a compartment in his throat to store smoke bombs and senbon, correct? This technique essentially makes you drop your puppets jaw to fully-open, and then use your chakra to shoot out a torrent of senbon from the compartment in his throat. The chakra-propelled needles move at speeds just surpassing what can be thrown by a normal shinobi, and are generally poisoned, if your puppet is outfitted with such weapons. Now, if your puppet meets these requirements, why don't you create this barrage of needles? Aim them at me if you wish; I can take it...
"Inferior? Sensei, I assure you, my puppet is at least par to the standards of the Sand."
"Ah, you cured me? A pity, I was getting used to the taste of the root." I chuckle wryly.
I manipulate the strings attached around my puppet's head. I open its jaw; it wasn't really a jaw, since the source of inspiration for my puppet didn't seem to have a jaw; rather, it was a collapsing series of flaps that opened up the lower face area where the mouth of a puppet normally was. A small series of tubes, containing the senbon within compartments in the puppet's lower body and connected to the tubes, stick out slightly (for a real life reference, it looks like a chain gun's barrel, except smaller).
"I used a standard poison, sensei. Nothing compared to your potent toxins. But most typical shinobi would still be affected by my senbons."
Without saying another word, and channeling my chakra through the mechanisms, I then proceed to fire a large torrent of senbon at incredibly high speeds towards sensei. The pipes/barrels rotate as they fire the near-invisible barrage (due to their speed) of needles, which hurtle toward sensei.
"Ah, you cured me? A pity, I was getting used to the taste of the root." I chuckle wryly.
I manipulate the strings attached around my puppet's head. I open its jaw; it wasn't really a jaw, since the source of inspiration for my puppet didn't seem to have a jaw; rather, it was a collapsing series of flaps that opened up the lower face area where the mouth of a puppet normally was. A small series of tubes, containing the senbon within compartments in the puppet's lower body and connected to the tubes, stick out slightly (for a real life reference, it looks like a chain gun's barrel, except smaller).
"I used a standard poison, sensei. Nothing compared to your potent toxins. But most typical shinobi would still be affected by my senbons."
Without saying another word, and channeling my chakra through the mechanisms, I then proceed to fire a large torrent of senbon at incredibly high speeds towards sensei. The pipes/barrels rotate as they fire the near-invisible barrage (due to their speed) of needles, which hurtle toward sensei.
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Sharingdork
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As the senbon fly towards Sasori, a large mechanical tail emerged from underneath his cloak and wrapped itself around his body. As the senbon collided with the tail, they deflected off and landed harmlessly on the ground. After the barrage was over, The tail withdrew back into his cloak.
That was good use of the technique. But now, can you utilize it properly? As I asked before, creative uses fit for a puppeteer, as well as drawbacks. You may begin.
That was good use of the technique. But now, can you utilize it properly? As I asked before, creative uses fit for a puppeteer, as well as drawbacks. You may begin.
As sensei wrapped his mechanical tail around his body to protect against my initial barrage, I manipulate the chakra strings to release a set of wooden canisters from Izanagi's stomach area (for a size reference, about the size of a gallon of milk). These were the ammunition capsules that held the senbons that were firing from my puppet's mouth; they roll towards sensei, unseen by him due to the covering of his body with his tail. They end up on the right and left of him, slightly behind his peripheral vision.
When sensei withdraws his tail and begins to speak... I take it as my opportunity to follow-up.
The canisters explode, releasing two more waves of senbon from sensei's left and right side. Since the canisters were oriented in such a way that they faced sensei, they launch in a conical fashion towards him from his sides.
"Of course, sensei. Art requires a sense of... creativity." I say as the senbon torrents fly at my teacher.
When sensei withdraws his tail and begins to speak... I take it as my opportunity to follow-up.
The canisters explode, releasing two more waves of senbon from sensei's left and right side. Since the canisters were oriented in such a way that they faced sensei, they launch in a conical fashion towards him from his sides.
"Of course, sensei. Art requires a sense of... creativity." I say as the senbon torrents fly at my teacher.
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Sharingdork
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As the senbon fly from around Sasori, they tear through the cloak but leave his body unscratched. After the barrage, Sasori moved his puppet's hand to brush dust off of it's shoulder nonchalantly. From inside Hiruko, Sasori grinned at his student.
Yes. Creative bursts like that are great for puppeteers. However, you just wasted all of your senbon in that one-time move. Additionally, as a puppeteer, you will have to keep chakra threads attached to the canisters in order to activate them remotely, which takes away from your puppet's mobility as a lower-tier puppet user, and at the same time allows one to see that something is happening wherever those strings lead. Do you understand now, exactly what you just did?
Turning his head as if to crack his neck, Sasori's Hiruko puppet then gestured towards the student.
If you are ready to continue, then the next technique is identical to this, only you utilize your puppet's smokescreen compartments rather than the senbon ones. Additionally, if you have the right smoke bombs, the clouds you release are toxic and dangerous to inhale. As I said; perform, and then creative uses and drawbacks.
Yes. Creative bursts like that are great for puppeteers. However, you just wasted all of your senbon in that one-time move. Additionally, as a puppeteer, you will have to keep chakra threads attached to the canisters in order to activate them remotely, which takes away from your puppet's mobility as a lower-tier puppet user, and at the same time allows one to see that something is happening wherever those strings lead. Do you understand now, exactly what you just did?
Turning his head as if to crack his neck, Sasori's Hiruko puppet then gestured towards the student.
If you are ready to continue, then the next technique is identical to this, only you utilize your puppet's smokescreen compartments rather than the senbon ones. Additionally, if you have the right smoke bombs, the clouds you release are toxic and dangerous to inhale. As I said; perform, and then creative uses and drawbacks.
(I apologize for the late reply. And that move I did was too freeform as well, I will perhaps use it as an idea for a CJ, though. I just wanted to do it for the sake of plot 
)
I reload two senbon canisters into Izanagi.
"I'm sorry, sensei. I should be more prepared for something like that. It was a small burst of creativity at the cost of my own art. Puppetry is not spontaneous... we pride ourselves with being fully prepared, am I right? I will be sure to modify the mechanisms to compensate for that."
I then manipulate the strings, shifting the mechanisms to switch from senbons to smoke bombs. A whirring sound is heard as the gears shift the systems accordingly. The cacophony of sounds would make most mechanics giddy with excitement.
"I don't have poison smoke bombs with me, but I do have the standard ones."
"These are good for clouding an enemy's vision, which then opens up a wealth of combat options. Do I follow up with an offensive attack, or stick back and work on bolstering my defenses or supplementing my jutsu combinations? While the smokescreen does not last for very long, it is critical in the time frame of battle, where even a split second moment of opportunity is ideal."
"The poison variant does what it says it does; poison the enemy so they are killed, paralyzed, numbed... or whatever, depending on the poison."
"Some drawbacks? I suppose I could get caught in my own technique as well. My own vision is obscured if this happens. Smoke bombs don't necessarily form the best cover as compared to certain other elemental equivalents, so perhaps, in the hands of a novice, they are underutilized."
"I do have some questions regarding this technique, sensei..."
1. Do Dojutsu users or sensors see through the smokescreen? If so, is there a way to infuse it with some form of my own chakra to disrupt their sensing capabilities?
2. In your experience, sensei, how would you use such a technique? I have a couple of ideas, but I'd like to hear your side, because after all, you are the teacher
I manipulate the chakra strings to open up a mechanism on my puppet which fires multiple smoke bombs on the ground between myself and sensei. They poof, releasing a pitch black smoke that obscures my immediate range of vision, allowing me to only see directly in front of me, and my puppet as well.
-cough- "I'm not going to let my guard down, sensei!"
)I reload two senbon canisters into Izanagi.
"I'm sorry, sensei. I should be more prepared for something like that. It was a small burst of creativity at the cost of my own art. Puppetry is not spontaneous... we pride ourselves with being fully prepared, am I right? I will be sure to modify the mechanisms to compensate for that."
I then manipulate the strings, shifting the mechanisms to switch from senbons to smoke bombs. A whirring sound is heard as the gears shift the systems accordingly. The cacophony of sounds would make most mechanics giddy with excitement.
"I don't have poison smoke bombs with me, but I do have the standard ones."
"These are good for clouding an enemy's vision, which then opens up a wealth of combat options. Do I follow up with an offensive attack, or stick back and work on bolstering my defenses or supplementing my jutsu combinations? While the smokescreen does not last for very long, it is critical in the time frame of battle, where even a split second moment of opportunity is ideal."
"The poison variant does what it says it does; poison the enemy so they are killed, paralyzed, numbed... or whatever, depending on the poison."
"Some drawbacks? I suppose I could get caught in my own technique as well. My own vision is obscured if this happens. Smoke bombs don't necessarily form the best cover as compared to certain other elemental equivalents, so perhaps, in the hands of a novice, they are underutilized."
"I do have some questions regarding this technique, sensei..."
1. Do Dojutsu users or sensors see through the smokescreen? If so, is there a way to infuse it with some form of my own chakra to disrupt their sensing capabilities?
2. In your experience, sensei, how would you use such a technique? I have a couple of ideas, but I'd like to hear your side, because after all, you are the teacher
I manipulate the chakra strings to open up a mechanism on my puppet which fires multiple smoke bombs on the ground between myself and sensei. They poof, releasing a pitch black smoke that obscures my immediate range of vision, allowing me to only see directly in front of me, and my puppet as well.
-cough- "I'm not going to let my guard down, sensei!"
Sharingdork
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Dojutsu users and chakra sensors can see and sense chakra, and therefore you, through the mist as this technique does not have our chakra in it. And there is no way to imbue our chakra into it, meaning that we will be sensed by sensory-types through this smokescreen.
How would I use it? I would launch a smokebomb near my enemy's location and then follow up quickly with an endless barrage of senbon to fly through the air towards my opponent. Even if sensory techniques work through the smoke, the senbon have no chakra of their own, making them invisible to sensory techniques and dojutsu such as the Rinnegan and Sharingan. And of course, the smoke and senbon are all imbued with poison, allowing easy victory.
How would I use it? I would launch a smokebomb near my enemy's location and then follow up quickly with an endless barrage of senbon to fly through the air towards my opponent. Even if sensory techniques work through the smoke, the senbon have no chakra of their own, making them invisible to sensory techniques and dojutsu such as the Rinnegan and Sharingan. And of course, the smoke and senbon are all imbued with poison, allowing easy victory.
Now, the only other technique which Sunagakure does not hold close to ourselves requires a second puppet; do you have a second puppet?
Sensei, I apologize for the late reply. Hope you're having a good holiday season ^^
Here is a bio update of mine. I adjusted the history to better match my needs, as we discussed. Hopefully, we can continue on with the Suna techs once it gets approved, or even now, if you'd like.
*shows Sensei his new birth certificate*
"By some 'divine intervention', it seems I did originate from Suna, sensei. Perhaps you could teach me those techniques now? For I don't have a second puppet myself..."
Strange. Reality seemed to twist around us as certain adjustments to our context and circumstances were made. It was as if, myself (Yu), and Sasori-sensei were merely avatars, being controlled by some 'higher beings', on a plane of existence beyond our own.
I internally scoffed. What were the chances of that?
Here is a bio update of mine. I adjusted the history to better match my needs, as we discussed. Hopefully, we can continue on with the Suna techs once it gets approved, or even now, if you'd like.
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*shows Sensei his new birth certificate*
"By some 'divine intervention', it seems I did originate from Suna, sensei. Perhaps you could teach me those techniques now? For I don't have a second puppet myself..."
Strange. Reality seemed to twist around us as certain adjustments to our context and circumstances were made. It was as if, myself (Yu), and Sasori-sensei were merely avatars, being controlled by some 'higher beings', on a plane of existence beyond our own.
I internally scoffed. What were the chances of that?
Sharingdork
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Glaring from within Hiruko, Sasori sighed.
Of course you originate from Sunagakure; that is where the precious art comes from. Now I can show you greater things because you have embraced your ancestry. Take a look at these puppets.
Pulling out a scroll, Sasori summoned thre puppets before his student.
Before we move onto specific techniques for these puppets, and other Sunagakure Secret Techniques, we will need to expand upon a jutsu you have already learned. The Puppetry Technique, the most basic jutsu used to create chakra strings to control puppets... You must learn how to fully master this jutsu. Right now, you use it as a beginner; ten fingers for one puppet. Skilled puppeteers are knowledgeable in the art of manipulating three puppets at a given time, and as you expect, that is without gaining twenty more fingers. But before you can run, you must walk. And right now, you crawl.
Of the four puppets before you right now, send chakra strings from one of your hands into one puppet, and chakra strings from your other hand to a different puppet. As your chakra strings move towards the target, they can split apart at the end, allowing one string to control multiple joints. This is the basis for being able to use more than one puppet at once. Now, their movements will be awkward at first, but that is to be expected. I want you to try and move your puppets about, and as you get the hang of it, I shall control the two puppets you did not choose and attack you with them. The faster you learn the technique's usage, the less damage you will take. You may begin when you are ready.
Of course you originate from Sunagakure; that is where the precious art comes from. Now I can show you greater things because you have embraced your ancestry. Take a look at these puppets.
Pulling out a scroll, Sasori summoned thre puppets before his student.
(Karasu) Crow
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Crow is the very first puppet we see in the series. It was created by Sasori, but is later used by Kankurou. Crow is a three eyed, four armed humanoid. Crow is one of the more basic puppets, but he is able to detach any of its body parts for deadly attacks, almost every joint having a blade at the end, allowing Crow to shoot his arms towards the opponent, and then have them return back to it. Even his head has a blade that can be extended out from the bottom of its neck when detached. This ability made it and Black Ant a very deadly combination. It also has the ability, like most puppets do, to release poison-tipped darts and smokescreens, which sometimes have poisonous gas mixed with them.
Note: Can only be used by a Suna puppet user
(Kuroari) Black Ant
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Black Ant, created by Sasori, is a puppet that is often used in conjunction with Crow and, later on, Salamander. It has a bucket-shaped face with two red horns and a total of six arms. It, like Crow, has three eyes. Its body resembles a very large barrel, and it is hollow on the inside, making its main use to be that of trapping, while weapons enter the many slots on its body. At any time, Black Ant can literally open its stomach, and trap an opponent, able to extend the two halves of its stomach so that it stretches out and over the opponent from a very fair distance (approximately mid range) and then retracts the stomach back to its original form, closing it with the opponent inside. Its arm segments contain hidden saw-blades. Like Crow, Black Ant can detach its arms for attacks.
Note: Can only be used by a Suna puppet user
(Sanshōuo) Salamander
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Salamander is a defensive puppet, though not on the level of defense as that of Hiruko. Salamander, as its name suggests, is built in the form of a large salamander, being one of the largest puppets seen thus far, and though it is not more powerful defensively than Hiruko, it is larger than the other puppet. Salamander is able to rise up a large area on its back to be used as a shield, making a black shield over its head. It, like some other puppets, is hollow, and it can open its back at any time and then rise up its large tail over its head, stretching it out and therefore allowing the puppet user to jump inside of it for protection. Salamander can also spew out fire equal to C rank. Salamander can only be destroyed by one who knows its weak spots, being a weak joint on its side that holds the shield in place and afterwards simply striking it on its back, or by a move of A rank or higher.
Note: Can only be used by a Suna puppet user
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Crow is the very first puppet we see in the series. It was created by Sasori, but is later used by Kankurou. Crow is a three eyed, four armed humanoid. Crow is one of the more basic puppets, but he is able to detach any of its body parts for deadly attacks, almost every joint having a blade at the end, allowing Crow to shoot his arms towards the opponent, and then have them return back to it. Even his head has a blade that can be extended out from the bottom of its neck when detached. This ability made it and Black Ant a very deadly combination. It also has the ability, like most puppets do, to release poison-tipped darts and smokescreens, which sometimes have poisonous gas mixed with them.
Note: Can only be used by a Suna puppet user
(Kuroari) Black Ant
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Black Ant, created by Sasori, is a puppet that is often used in conjunction with Crow and, later on, Salamander. It has a bucket-shaped face with two red horns and a total of six arms. It, like Crow, has three eyes. Its body resembles a very large barrel, and it is hollow on the inside, making its main use to be that of trapping, while weapons enter the many slots on its body. At any time, Black Ant can literally open its stomach, and trap an opponent, able to extend the two halves of its stomach so that it stretches out and over the opponent from a very fair distance (approximately mid range) and then retracts the stomach back to its original form, closing it with the opponent inside. Its arm segments contain hidden saw-blades. Like Crow, Black Ant can detach its arms for attacks.
Note: Can only be used by a Suna puppet user
(Sanshōuo) Salamander
Rank: C
Type: Supplementary
Range: N/A
Chakra Cost: 15
Damage Points: N/A
Description: Salamander is a defensive puppet, though not on the level of defense as that of Hiruko. Salamander, as its name suggests, is built in the form of a large salamander, being one of the largest puppets seen thus far, and though it is not more powerful defensively than Hiruko, it is larger than the other puppet. Salamander is able to rise up a large area on its back to be used as a shield, making a black shield over its head. It, like some other puppets, is hollow, and it can open its back at any time and then rise up its large tail over its head, stretching it out and therefore allowing the puppet user to jump inside of it for protection. Salamander can also spew out fire equal to C rank. Salamander can only be destroyed by one who knows its weak spots, being a weak joint on its side that holds the shield in place and afterwards simply striking it on its back, or by a move of A rank or higher.
Note: Can only be used by a Suna puppet user
Of the four puppets before you right now, send chakra strings from one of your hands into one puppet, and chakra strings from your other hand to a different puppet. As your chakra strings move towards the target, they can split apart at the end, allowing one string to control multiple joints. This is the basis for being able to use more than one puppet at once. Now, their movements will be awkward at first, but that is to be expected. I want you to try and move your puppets about, and as you get the hang of it, I shall control the two puppets you did not choose and attack you with them. The faster you learn the technique's usage, the less damage you will take. You may begin when you are ready.