HMD

May. 3rd, 2023 01:39 pm
therewerefifty: (surrender)
Makie is an entirely new type of character for me and is likely to be rough for a while for a variety of reasons.  Please don't hesitate to crit me here if you think I'm either getting her voice wrong, getting the setting wrong (mid-Tokugawa), or anything else you think I'm not taking into account. 

In Box

Jun. 8th, 2022 02:39 pm
therewerefifty: (Default)

 
 Don't forget to date your threads!         
therewerefifty: (Default)
PLAYER

NAME: KJ
CONTACT: [plurk.com profile] kayjayyy
OTHER CHARACTERS IN THE PINES: Nope!

CHARACTER

NAME: Makie Otono-Tachibana
CANON: Blade of the Immortal
CANON-POINT: Chapter 200 - at the point of her death


DOSSIER

HISTORY:

Please note:  I've had to write out her history because it does not exist online in any accurate form.  But in case you want to spot check accuracy, www.thespectrum.net hosts the entire series and Makie appears mostly at volumes 3, 13-14, and 28-30. (Vol 3 has her entire backstory.)

Makie was born into a samurai family famed for its talent in swordsmanship in approximately 1758, the second child after a brother five years older than she was. Her father was Yoshiaki Harukawa and her mother was Fuki. When she was ten years old, her older brother, urged into it as a prank by his peers, challenged her to a duel. It wasn’t serious — more just teenage boys having some fun. But that didn’t stop Makie from defeating him three times in a row without him ever landing a strike. The bloodline had passed its talent into the daughter, not the son.

Humiliated, her brother committed seppuku rather than live with the shame that he had been beaten by his own sister. In rage, Harukawa disowned Makie — and his own wife, when Fuki attempted to defend her daughter — casting them out onto the street. Fuki was forced to find work in a brothel to support them both, and Makie was left with a great anger for her father for doing this to her mother, and anger to her mother for just accepting it — but also an overwhelming shame and sadness at both their situation and her role in society, where the fact of her skill meant that her existence was the greatest shame her family had to endure.

A lot of her years after that are never gone into, but I can surmise that as the child of a whore, Makie spent a lot of time either keeping out of the way or wandering the streets (it’s clear at least that she doesn’t become a prostitute herself until much later). She continues to practice with the sword despite the stigma it brings, her goal to one day return to her old home and her father to kill him for the dishonour done to her mother. After that, she fully intends to kill herself. Makie is not a happy child.

At the age of twelve, she meets Anotsu Kagehisa in the wastelands for the first time. Both of them children, she saves him from the attack of a wild dog, and he praised her skill in awe. It was the first time she’d ever heard praise for being able to use a sword, and he asked her at that point to teach him; that he stay by her side always, and learn from her. She agrees, but her only request is that some day he become stronger than she is, because at least one man should be stronger than she is. (This is never borne out in the series – Anotsu never becomes stronger than Makie. But as she’s completely in love with him throughout their adult lives, it’s only a source of joy for her because it means that she has a reason to stay by his side and protect him.)

It’s while they’re talking that Anotsu’s grandfather comes across them and, realising that his grandson was saved by a girl, flies into a rage and beats both children bloody. He intends to kill Makie to preserve the honour of Anotsu, and then recognises her at the last moment for the infamous disowned daughter of the Harukawa clan… and instead beats her near half to death and leaves both Makie and her weapon on a tree branch in the field, saying the blood would draw every wild dog for miles, and that Makie’s fate was now in the hands of the gods.

Anotsu returns to the field the next day to find the corpses of fifty wild dogs strewn across the field and no Makie. When he reports this to his grandfather, the man laughs, claims he was right, and tells Anotsu the story of Makie's shame. This incident goes at least partway to helping Anotsu define what he wants out of his own life, which is creating his own no-holds-barred sword school, where there is no shame to be found in what weapon you use or what gender you are; only that you are strong and you can fight.

What happens in the next years until 1782 is very vaguely defined. Makie and Anotsu do see each other again, at least enough for them to grow to know each other, for Anotsu to learn from her, for Makie to fall in love with him. But they obviously lose track of each other somewhere along the way; most likely near the point that Makie’s mother Fuki, suffering from tuberculosis, passes away. Fuki spent the last of her days in the pleasure houses, and Makie is ashamed of that life for her, still intending to go back to avenge Fuki’s disgrace some day… but Fuki is against Makie’s vendetta, and tells Makie instead that if she wanted to be a swordsman, to “become a whore instead” because it was the better choice.

So she does. One assumes she is honouring her mother’s last wishes, or that there is debt for her mother’s medical treatment that needs to be repaid. These are likely both reasons. But another is that Makie is a deeply sad and confused woman, always swinging from one goal to another and unsure what she should do with her life… perhaps all of these things are behind her decision to follow in her mother’s footsteps and become a prostitute. What else can such a woman do? What else does she deserve? It’s there that Anotsu finds her again, in 1782, where he buys out the last of her contract from the brothel, setting her free on the streets again, and tells her of his own situation: that he has formed his new school, the Itto-Ryu, but there is a swordsman by the name of Manji who is intent on murdering them all due to a vendetta of revenge. By pledge of honour, Makie becomes a swordswoman of the Itto-Ryu. She also becomes a geisha at about the same time in order to make the money to pay Anotsu back for the money he’s spent on her behalf, despite Anotsu saying with irritation that he never asked for such a thing.

Soon after, things happen in quick succession. She finds Manji in the street and approaches him under the guise of a streetwalking prostitute, luring him into the back alleys with intent to kill him, because that’s what Anotsu wants. They have their first fight, but Makie’s heart is not in it — she loses. Manji, believing she’s an amateur, delivers a lecture and walks off, leaving her alive. Anotsu finds her a few days later to question both how the fight went and why she’s working as a geisha. He refuses to believe she could have genuinely lost to Manji, because she is the only swordsman alive capable of beating him. Makie says:

“My mother said something to me once. I just remembered it the other day. If I wanted to live by killing people, to be a swordfighter, then to become a whore instead. That’s what she said. So go ahead-- laugh at me. This pathetic person… who doesn’t have it in her to be either one.”

Anotsu then claims that one day, he will make her his woman. Makie cries, believing he’s only after her skill with a sword — she could be so happy otherwise. He kisses her, then tells her he won’t have her wasting her talent, and leaves her alone on the bridge.

It’s while she’s there composing herself that three thugs arrive to state they were there to take her back to her original brothel, because the manager was happy to get so much money for her, but was sure he’d go out of business without his “best show piece”. Makie quietly says she understands—- and cuts her hair off. She's made her decision, and her worth as a prostitute certainly goes down without all that hair. Then she slaughters all three of them on the bridge in a matter of seconds. And the following day, she tells Anotsu that she will be his when she brings him back Manji’s head.

Cue her second fight with Manji, much more vicious this time, where it’s clear that Manji doesn’t stand a chance against her — but she still loses her nerve midfight, and is encouraged by Manji of all people, saying that if he was going to be offed in the street, at least let it be in a way he didn’t regret; for Makie to remember the reason she took up the sword in the first place, cling to it, and fight. She thanks him for it, they resume their fight, and Makie wins. Before she can deliver the final blow, however, Manji’s travelling partner, a young girl called Rin, intervenes to protect him — and Makie decides this is not what she wants to do, turning her back on Manji — and thus Anotsu — and instead making the choice to return home to her father, to finally avenge her mother’s treatment at his hands.

When she finally finds her father, he is both sick with the last stages of tuberculosis himself and quite demented, now living in a tiny hovel in a farming village, having fallen so far, deeply mourning the loss of his wife and his daughter and he is so happy when Makie walks in the door, pleading for news of his wife, giving her a beautiful hair comb to take back, begging for Makie to leave and come back with Fuki so that he can make amends. Her heart moved by pity, unable to go through with her intentions, Makie lies about Fuki’s death and says she’s doing well, agreeing to bring her back, and leaves again. She hasn’t gone very far when she visibly reminds herself that she didn’t come here to be a bleeding heart, that Fuki deserved this vengeance, and she rushes back to the hovel to mete out justice—only to find that her father has breathed his last and coughed himself to death on the floor.

So after a long life of perceived shame and failure, the way she fails in every conceivable way when it comes to her lifelong goal to avenge her mother’s disgrace is enough to induce a breakdown into full despair and depression, and Makie takes up living in her father’s old hovel. She sews her sword hand shut, makes raincoats for the couriers that travel through this tiny village, and sells her body, intent on causing as little harm to the lives of others as possible, intent on speedily making the funds to repay Anotsu for buying out her original contract.

When Anotsu finds her some weeks later, he's angered by how low she's sunk, and she points out this is a life she can make for herself wherein she's self-sufficient and can't hurt anyone. She repays her debt, and he leaves-- only to return minutes later to take her off guard in the middle of a breakdown, at which point Anotsu discovers both that she's smoking some kind of illicit substance (assumed opium-- never confirmed) and the damage to her sword hand. After she rails and cries at him that this is the only way she can seek penance for the damage she's done, he points out its complete idiocy and that she solves nothing by withdrawing the way she has. Instead, Anotsu tells her to take the pain of him removing the string from her hand as a form of penance on its own, treats her hand, and then quietly leaves while she's asleep.

Once she awakens she's lucid enough to realise that Anotsu looked very ill (he has the onset of tetanus), and sets off after him at once, only to track him down as he and some others are being ambushed by a good dozen men. There, Makie makes her final choice when it comes to killing; she's no assassin as Anotsu tried to use her earlier, but in order to protect him she will cross all lines. With all inhibitions gone, she decimates the opposing force, stepping back only to allow the last survivor to fight Anotsu one on one. Anotsu wins, and Makie and a fellow member of the Itto-Ryu spirit Anotsu off to get him medical help and rest. From that point, Makie's role in the Itto-Ryu is cemented.

She vanishes from the manga for some time after that, surfacing months later as already having contracted tuberculosis herself. Ironically, now that she's ill, Anotsu is more focused on keeping her out of the fighting which, now she's decided her place is by his side, leads to some mild arguments. Meanwhile, Anotsu's own ambitions have turned sour as the Shogunate-- who orchestrated the events that had him attacked earlier-- have perceived the Itto-Ryu as being enough of a threat that he is threatened with the full might of the Shogunate forces unless he leaves Japan. A lot of complicated things happen at this point, at which Makie is only on the sidelines of, so I'll spare another six paragraphs-- in the end, what happens is Anotsu and the last of the Itto-Ryu depart, making for the coast to exit Japan, pursued by two sets of men from the Shogunate with conflicting motivations. Concerned about Makie's illness, Anotsu leaves her behind.

Makie refuses to be left behind and arrives at the coast just before Anotsu, and just before Manji and Rin from earlier also turn up, still seeking to settle their vendetta against Anotsu. She takes refuge on one of the fishing boats that she knows will be used to leave, conserving her strength, and thus is there when the first group from the shogunate arrive and mercilessly start slaughtering all people on board the boats at the docks. Makie enters a pitched fight against both the shogunate forces and the ports authority militia, until her illness makes battle impossible and she falls. Before she can be killed, however, Manji intervenes to save her life and pass her medicine that will suppress her symptoms (one assumes as payback for their earlier encounter), and the two of them join forces. They're soon joined by Rin and Anotsu, who is somewhat exasperated that Makie pursued him, but acknowledges it as fair.

Fighting breaks out all along the docks between the four of them and the various groups that have turned up seeking Anotsu's head, and the four of them separate to deal with different fights; healthier than she's felt in a long time, Makie deals with a good three quarters of them herself, dealing with the less skilled before facing off against a more elite group. She's not particularly interested in killing so much as she is interested in keeping them away from Anotsu so he can have his one on one fight with the group's leader, and to that end, rather than risk them breaking and running because she's too skilled, fakes the return of her symptoms-- to the point of biting off the tip of her own tongue to simulate internal bleeding and luring them in close for the kill. However, at the end, the battle is joined at the last moment by Hyakurin, a woman who is the pregnant partner of one of Makie's opponents, and rather than risk Hyakurin's death her partner instead requests that Makie please let them live as they are now too injured to fight.

Makie leaves them in peace (after lecturing Hyakurin for jumping down a cliff when she's pregnant) and crosses the docks to find Anotsu. She catches sight of him and smiles-- and at that point, the artillery brigade that's just arrived on the clifftops above them open fire, injuring Anotsu, killing another on the field, and riddling Makie multiple times. Anotsu manages to get her to shelter and realises she won't survive, and he's now pinned down where he is. Makie finally asks him if he ever managed to surpass her, and he says he could not. And she's glad, because that means she still had a reason to be by his side.

Then she collects her weapon, uses it to leverage her way up the cliff face, and uses the last of her strength to decimate the artillery squad, saving Anotsu's life one last time before she finally succumbs to her injuries.


CR AU: N/A

WHAT ARE YOUR CHARACTER'S STRENGTHS?:
Makie has far more in the way of weaknesses than she does strengths when it comes to just character. However, she's shown several times to have particular strengths that stand out-- her resilience, her ability to just keep going, despite all odds. She's amazingly resourceful, both in analysing the battlefield in a split second and knowing how to maneuver people into the right situation-- her impersonation of a streetwalker is the most informal we ever see Makie as she discards her courtesy for playfulness, and then there's the fact she bit off her own tongue to keep a bevy of fighters still believing they had a chance to take her down. These strengths are far more muted outside of battle and she only employs them when necessary, but it still shows Makie has a capability for subtle manipulation that's quite impressive. She's also diplomatic (a product of both her early upbringing and her time as a geisha), and shows a lot of gentle compassion towards various other female characters in the manga, from a small girl left behind on the street to Rin herself, which I believe is borne from her understanding of just how painful it can be to be a woman in that era that doesn't quite fit in.

WHAT ARE YOUR CHARACTER'S WEAKNESSES?:
Makie's very character tends to be weak. She has a streak of self-loathing a mile wide, and has not particularly cared about being alive her entire life. She literally says, two chapters before her death, that for the first time she really wants to live-- and her reason for doing so is because everyone else Anotsu depends on is dropping dead around him. Makie has never held any self-worth, going from the girl child of a samurai clan who would grow up to be a wife and/or property to being an outcast that brought the same fate on her mother, and it's telling that, although Anotsu and Makie really do love each other, she measures her own worth by how much he needs her. She's constantly depressed, hates her skills, but is addicted to fighting at the same time, and spent much of her earlier life paralysed on the horns of that moral dilemma. Choosing finally to side with Anotsu and be his bodyguard made the uncertainty that plagued her every action before that go away, but she clearly believes she killed a part of herself to do so.

She has a terrible tendency to feel sorry for herself about all of the above, and one of her biggest flaws is an inability to think outside the box, which is striking given how much resourcefulness she brings to a fight. But there are other options for a woman outcast in that time of Japan that don't involve being a whore - the whole manga is littered with examples - and yet she gives up and follows in her mother's footsteps and, later on when she breaks, retreats to it. I think the shame of those events when she was ten imprinted hard enough that she believes this is all she's capable of, and outside of fighting, new ideas or how to deal with things just don't come to her quickly, if at all. She's quiet, reserved, and is hypersensitive to the idea of not being a burden to anyone. Basically, Makie is a mess.

WHAT EVENTS OR CIRCUMSTANCES IN YOUR CHARACTER'S PAST HAVE IMPACTED THEM THE MOST?:
- her father going mad and throwing Fuki and Makie out, forever imprinting that shame on her psyche
- meeting Anotsu, and entering the pact for him to stay by her side and learn
- her meeting with Rin and Manji, wherein Manji told her to remember the reason she took up the sword and fight for it, and Rin reminded her of herself enough that she finally turned for home to avenge her mother
- her father's death, through no efforts of her own and her subsequent breakdown
- Anotsu offering her another way of penance, followed swiftly by the realisation he was deathly sick and needed her protection immediately. Those two events happened so quickly that the catharsis from the former combined with the decision and throwing away of her earlier morals of the latter. After that, her path was set until the end.

WHAT MOTIVATES YOUR CHARACTER?:
Currently, precious little. Her driving motives over the course of the manga were to avenge her mother and to stay with Anotsu. Neither are an option in a game, and given her life is over at home she would be vastly adrift. But her earlier desire not to cause trouble, not to cause unnecessary pain or hardship or a burden to others, would resurface. As time went on and she adjusted and potentially made friends (and realised how friendly everyone was in comparison with her old life), her motives would manifest as a very low key watchfulness and protectiveness over those she grows to hold dear. Makie does still have her compassion and a sense of right and wrong, and while she will likely put her weapon down with the intent never to pick it up again, she would still try to help in other ways.

Or in short, a penance of sort for her earlier life, a thank you for people being kind. A chance at something new. She is... not the type to fight being in Wayward Pines, though she might certainly get drawn into the fight at a later date.

WHAT IMPRESSION DO OTHERS TEND TO HAVE OF YOUR CHARACTER?:
Frail, gloomy, incredibly sad, incredibly courteous and a reserved manner.

IN WHAT WAYS DOES THAT IMPRESSION DIFFER FROM WHO YOUR CHARACTER REALLY IS?:
Not at all. Well, she's not frail with how she handles a weapon, but otherwise she's exactly as advertised on the tin. Occasionally, dry and morbid humour may manifest that would probably surprise people, but she'd have to know them pretty well. The only other thing that's not immediately obvious is her capacity for manipulation, but that may never surface at all.

HOW DOES YOUR CHARACTER HANDLE CRISIS OR ADVERSITY?:
It depends on the type. A physical crisis, a fight, a conflict, Makie will handle with some pretty lethal flair. Her resilience means that with many other, more subtle types of adversity, she's more likely to bow her head, wait it out, and keep going with her life, unless an opening presents itself for something more. But she's not so good at spotting those, so...

WHICH 5 THINGS WILL YOUR CHARACTER REMEMBER UPON ARRIVAL, AND WHY DID YOU CHOOSE THEM?:
1) That she was shot to pieces in the middle of a winter thunderstorm (because it will induce a massive sense of dissociation, both in the fact she's still alive and it is distinctly not winter)
2) She can play the shamisen (a comfort memory)
3) That she's terminally ill (becauuuse that part will be obvious)
4) The memory of waking up bleeding in a tree surrounded by starving wild dogs (an existential dread memory)
5) That she was very much in love and that love was returned (a bittersweet memory)

It's a collection of memories crafted to give her a sense of melancholy displacement and realise that, whatever the rest of her memories are/whatever this place is, there's nowhere else to go and she'll just. Start over. Or initially decide to find some place to curl up and live out her short days, until someone points out that tuberculosis is curable, go to the hospital, you silly idiot. (If the hospital staff don't say that at the outset.)

IS THERE ANYTHING ELSE YOU FEEL WE NEED TO KNOW ABOUT YOUR CHARACTER?:
Just an official note on her tuberculosis - I'll have her come in with it, but am more than amenable to people ICly guiding her to a cure, and then once it's cured it's gone. It will probably make her happier.

Also I realise I have not once stated what Makie uses as a weapon. Blade of the Immortal is a series where a lot of people wield some very unlikely handcrafted hybrid style blades, and Makie is no exception. Her weapon of choice is a three-section double-bladed staff which she folds up and keeps inside her shamisen. Here is a picture of it.

SKILLS, ABILITIES, & PHYSICAL WEAKNESSES:

Makie is the most skilled swordsman in her canon, which, given we see warriors all the way up the ranks of the Shogunate, could make her arguably the best swordsman in Japan. She fights with amazing speed and grace to the point that people in the manga comment on it regularly ("how does she fight like that?") and Anotsu stops to fanboy about it occasionally, in that 18th century samurai-ish way of his. (Manji, when faced with the possibility of fighting her a second time, turns and runs.) She's canonically so fast and so agile that while she can slaughter a group of men in seconds, she'll end the fight without a single drop of blood on her clothing.

Apart from that, though, her skill-set is on the artistic side. Beginning to learn how to be a proper samurai's wife when she was very young, and adding to that her time both as a prostitute and a geisha, Makie's skill in singing, songwriting, and playing the shamisen is praiseworthy. Her songs are said to be sad enough to tear at the heart (because Makie is a miseryguts and so are all her songs). It can be said that Makie, for all her depression, obviously enjoys playing the shamisen as she's shown several times playing it just because, so it makes for a positive outlet for all that angst.

She also has some fledgling skill in diplomacy, and a trained warrior's eye in spotting trouble before it ever really manifests.

On the physical weaknesses side, there's her illness, to be sure, cutting great swaths out of her endurance and leaving her thin and sickly. She's also not actually very strong, and her weapon of choice is one based more on momentum than heavy strikes. This is commented on outright in her fight with Manji. But Makie's weaknesses are otherwise psychological in this regard, and her dexterity and grace are pretty outstanding otherwise and, once the tuberculosis is dealt with, she more than compensates for that lack of strength in other ways.


INVENTORY:
1) her weapon
2) her shamisen
3) her clothing (kimono, yukata, shawl, sandal sand socks)
4) an ornate hairpin (belonged to her mother)
5) a pretty hair comb (belonged to her mother)

Those last two were definitely not on her person at the end, but were the only keepsakes Makie had ever been given, one by either parent, so. I figure they might round out the list. Makie didn't really have anything else.

SAMPLES

PROSE-HEAVY: Here!
DIALOGUE-HEAVY: Here!

Both of these are from a current game that's in space of all places, so she's had time to adjust.

MEMORIES

Jun. 2nd, 2016 06:01 am
therewerefifty: (walking away)
Watch this space

Alternately if it's past like 4/6/17 and this is still empty, yell at me and then watch this space
therewerefifty: (Default)
History:

Makie was born into a samurai family famed for its talent in swordsmanship in approximately 1758, the second child after a brother five years older than she was. Her father was Yoshiaki Harukawa and her mother was Fuki. When she was ten years old her 15 year old brother, and heir to the family dojo, urged into it as a prank by his peers, challenged her to a duel. It wasn’t serious — more just teenage boys having some fun. But that didn’t stop Makie from defeating him three times in a row, without him ever landing a strike. Humiliated, her brother committed seppuku rather than live with the shame that he had been beaten by a small girl; that the daughter in the family had inherited the family’s famed talent. This was the middle of the Tokugawa era, and for a girl to have such talent over those allowed to be warriors was shameful.

In rage, Harukawa disowned Makie — and his own wife, when Fuki attempted to defend her daughter — casting them out onto the street. Fuki was forced to find work in a pleasure house to support them both, and Makie was left with a great anger for her father for doing this to her mother, and anger to her mother for just accepting it — but also an overwhelming shame and sadness at both their situation and her role in society, where the fact of her skill meant that her existence was the greatest shame her family had to endure.

A lot of her years after that are never gone into, but I can surmise that as the child of a whore, Makie spent a lot of time either keeping out of the way or wandering the streets (it’s clear at least that she doesn’t become a prostitute herself until much later). She continues to practice with the sword despite the stigma it brings, her goal to one day return to her old home and her father to kill him for the dishonour done to her mother. After that, she fully intends to kill herself. Makie is not a happy child.

At about the age of twelve, she meets Anotsu Kagehisa in the wastelands for the first time. Both of them children, she saves him from the attack of a wild dog, and he praised her skill in awe. It was the first time she’d ever heard praise for being able to use a sword, and he asked her at that point to teach him; that he stay by her side always, and learn from her. She agrees, but her only request is that some day he become stronger than she is, because at least one man should be stronger than she is. (This is never borne out in the series – Anotsu never becomes stronger than Makie. But as she’s completely in love with him throughout their adult lives, it’s only a source of joy for her because it means that she has a reason to stay by his side and protect him.)

It’s while they’re talking that Anotsu’s grandfather comes across them and, realising that his grandson was saved by a girl, flies into a rage and beats both children bloody. He intends to kill Makie to preserve the honour of Anotsu, and then recognises her at the last moment for the infamous disowned daughter of the Harukawa clan… and instead beats her near half to death and leaves both her and her weapon on a tree branch in the field, saying the blood would draw every wild dog for miles, and that Makie’s fate was now in the hands of the gods. Apparently, this is the grandfather’s way of confirming if she is who he thinks she is. (What a nice man he is. Really.)

Anotsu returns to the field the next day to find the corpses of fifty wild dogs strewn across the field and no Makie. When he reports this to his grandfather, the man laughs, claims he was right, and tells Anotsu the story of who Makie is. This incident goes at least partway to helping Anotsu define what he wants out of his own life, which is creating his own no-holds-barred sword school, where there is no shame to be found in what weapon you use or what gender you are; only that you are strong and you can fight.

What happens in the next years until 1782 is very vaguely defined. Makie and Anotsu do see each other again, at least enough for them to grow to know each other, for Anotsu to learn from her, for Makie to fall in love with him. But they obviously lose track of each other somewhere along the way; most likely near the point that Makie’s mother Fuki, suffering from tuberculosis, passes away. Fuki spent the last of her days in the pleasure houses, and Makie is ashamed of that life for her, still intending to go back to avenge Fuki’s disgrace some day… but Fuki is against Makie’s vendetta, and tells Makie instead that if she wanted to be a swordsman, to “become a whore instead” because it was the better choice.

So she does. One assumes possibly she is honouring her mother’s last wishes, or that there is debt for her mother’s medical treatment that needs to be repaid. These are likely both reasons. But another is that Makie is a deeply sad and confused woman, always swinging from one goal to another and unsure what she should do with her life… perhaps all of these things are behind her decision to follow in her mother’s footsteps and become a prostitute. What else can such a woman do? What else does she deserve? It’s there that Anotsu finds her again, in 1782, where he hires her for the evening, and instead tells her the tale of how he was rescued from a wild dog by a young girl with skin corpse-pale and “her eyes, so sad.” He buys out the last of her contract from the brothel, setting her free on the streets again, and tells her of his own situation: that he has formed his new school, the Itto-Ryu, but there is a swordsman by the name of Manji who is intent on murdering them all due to a vendetta of revenge.

By pledge of honour, Makie becomes a swordswoman of the Itto-Ryu. She also becomes a geisha at about the same time in order to make the money to pay Anotsu back for the money he’s spent on her behalf, despite Anotsu saying with irritation that he never asked for such a thing.

Soon after, things happen in quick succession. She finds Manji in the street and approaches him under the guise of a streetwalking prostitute, luring him into the back alleys with intent to kill him, because that’s what Anotsu wants. They have their first fight, but Makie’s heart is not in it — she loses. Manji, believing she’s an amateur, delivers a lecture and walks off, leaving her alive. Anotsu finds her a few days later to question both how the fight went and why she’s working as a geisha. He refuses to believe she could have genuinely lost to Manji, because she is the only swordsman alive capable of beating him. Makie says:

“My mother said something to me once. I just remembered it the other day. If I wanted to live by killing people, to be a swordfighter, then to become a whore instead. That’s what she said. So go ahead-- laugh at me. This pathetic person… who doesn’t have it in her to be either one.”

Anotsu then claims that one day, he will make her his woman. Makie cries, believing he’s only after her skill with a sword — she could be so happy otherwise. He kisses her, then tells her he won’t have her wasting her talent, and leaves her alone on the bridge. It’s while she’s there composing herself that three thugs arrive to state they were there to take her back to her original brothel, because the manager was happy to get so much money for her, but was sure he’d go out of business without his “best show piece”.

Makie quietly says she understands—- and cuts her hair off. She's made her decision... and her worth as a prostitute certainly goes down without all that hair. Then she slaughters all three of them on the bridge in a matter of seconds. And the following day, she tells Anotsu that she will be his when she brings him back Manji’s head.

Cue her second fight with Manji, much more vicious this time, where it’s clear that Manji doesn’t have a chance against her — but she still loses her nerve midfight, and is encouraged by Manji of all people, saying that if he was going to be offed in the street, at least let it be in a way he didn’t regret; for Makie to remember the reason she took up the sword in the first place, cling to it, and fight.

She thanks him for it, they resume their fight, and Makie wins. Before she can deliver the final blow, however, Manji’s travelling partner, a young girl called Rin, intervenes to protect him (despite all of Manji’s complaints) — and Makie eventually decides this is not what she wants to do, turning her back on Manji — and thus Anotsu — and instead making the choice to return home to her father, to finally avenge her mother’s treatment at his hands.

Then she woke up in Adstringendum.

CRAU memories for Adstring

Even to the end, Makie kept mostly to herself-- at first from her extreme social shyness and depression, and then later because she was ill. When people explained that she was caught in a new world and she would return home to the same point in time, she accepted it, walked into the nearest available house, and settled down with the barest of necessities. She'd been going home to kill her father and then herself, so whatever. She would just calmly wait and survive until she returned home.

That was her intention, anyway. Several in the village were friendly to her in startling ways (i.e. they treated her like a human being and not a commodity) and she grew more cautiously willing to interact over time, offering trade.

A feral child called Lilly stumbled into her house one day, and Makie elected to just leave the child be and let her explore, then quietly prepared some food for her. Over time, Lilly grew to trust Makie a great deal, and Makie saw in Lilly another little girl that society had cast away. She kept food on hand for the girl and let the girl keep her weird collections of jars and rocks in her home without comment, and eventually started making clothes for her. A year later she'd practically adopted Lilly, and while she never lost that feral edge, Lilly clearly trusted Makie and cared for her in her own way. The two were very close.

She also met Mihawk in Adstringendum, and the two very quickly gained respect for one another's skill and love for swordsmanship. While never exactly friends (lol they're both too emotionally stunted for friends) they nevertheless grew to greatly appreciate each other's presence. Makie would play her shamisen for him often at request. She met many others over time-- Sam Winchester, Castiel, Rei, Gadreel, Kuwabara-- all who were good people, and she slowly began to thaw and realise that being trapped in this place wasn't so bad after all. It allowed her to realise that there was more to life than the narrow path she could see for herself at home.

Then she grew ill with tuberculosis. It's Mihawk who is there when Makie discovers she is ill during a fight several months into her stay in Adstringendum and takes her home, and Sam treats the injuries from the fight and encourages her. Hatori Sohma told her there was a cure in modern times for the disease and he would work on a way to get it for her, and so she saw hope again-- nevertheless, she took precautions and kept to herself, unwilling to risk infecting anyone else.

Then the world upended and they all found themselves in a ruined village with no amenities and practically no belongings except her shamisen. Shortly after that, Hatori Sohma went home. Back to square one. Bereft of the special tea he'd provided her, Makie's health slowly started to decline. Several magical healers offered to slow the disease for her, and then they, too, vanished from Adstringendum, and so the disease progressed in fits and starts.

It only got worse when there was a flood shortly after arrival, washing out her new home, and her and Lilly along with it. Unable to swim, the best she could do was get Lilly onto some floating debris before she went under, and the two were separated. She was later fished out by Castiel and spent time looking for Lilly in vain, though her shamisen was recovered from the flood by Mihawk, who returned it to her.

She finally made a network post to see if she could find the girl, and the two were reunited. During this time, she also met another doctor, a bizarre talking reindeer called Tony Tony Chopper, who was very insistent at looking after her and requested she move much closer to him in a specially prepared home. Already having lost her first doctor and had several offers of help that had failed to come to pass, she wasn't really expecting much by this point, but agreed to move anyway. After all, her last home was ruined.

She continued on with her life in this fashion for some time, hunting until the steady onset of winter made her too tired and ill to do so, until it seemed Lilly was more concerned about Makie than the other way round. Chopper did his best to help but she didn't expect to make it through the winter, given the ruins they lived in. Nevertheless, she was content; she was accepted as she was and grew to understand people cared about her outside of her role as a killer or a prositute, and she allowed herself to admit this was as close to happy as she was going to get.

When Deireadh attacked the village finally, poisoning the water and sickening the animals, she knew her time was limited. She died a week later defending Lilly from the shadow monsters that Deireadh sent; her skill was still lethal, but her body was too weak, and once they were dead, she also fell, leaving Lilly shaking her in a futile attempt to wake her up again. Sorry, Lilly. :c


PERSONALITY

Strictly canon

Makie is not a strong-willed person and is actually quite fragile in personality and ego. TV Tropes describes her as a broken bird, and that’s very accurate; she is always melancholic, her life has been very sad, and she’s grown up with the knowledge that according to Edo society her very existence is the greatest shame a family could bear. Killing people brings her no joy. Being a geisha brings her no joy. Being a whore certainly doesn’t. But despite the perceived shame of her existence, she doesn’t give up the sword.

There’s a certain duality to near everything that Makie does — before she leaves Edo, she admits that she used to be ashamed of her mother’s lifestyle, but now she understands and is so proud of Fuki, who encouraged Makie to give up her vendetta, who instead of living in resentment chose to forgive her husband and spend the rest of her life giving comfort to people. But despite this acknowledgment, she still goes home with the intent to kill her father, and only attempts to give up her sword (and everything else) when her only reason for continuing on with it is now gone. She can’t commit to any one road in life, lacking “the nerve for either one”, and a woman with impressive sword skills has no place in the strict society of mid-Tokugawa. Makie has grown up feeling strongly that she has no place, no roots, that she shouldn’t exist, and it shows in how conflicted and sad she is in just about everything. It certainly doesn’t take much for Makie to break down in tears. She believes she is a fallen woman who can’t have dreams like other people.

That doesn’t mean, however, that Makie spends all her time moping about and crying; her capacity for empathy and compassion is quite high, likely as a result of all she’s been through, and she smiles and talks to children on the street (notably girls, mind), encouraging them and comforting them. As a geisha she is self-deprecating yet capable of good conversation, both playful and more softly serious. She comes across as kind and gentle and sometimes a teasing woman, and is often quite candid about what she’s thinking or feeling in various situations. (But not always. There are at least two occasions in the manga where she deliberately manipulates someone into a vulnerable position for a fight.) She does often come across as melancholy – the very first description we get of her in the manga from Anotsu’s point of view is “Skin blue-white like someone dead…and those eyes. So sad, so very sad.”

There are two things that instill any kind of peace or positive emotion in Makie. One is her shamisen, which, while it does double as a place to conceal her weapon of choice, is nevertheless an instrument she’s shown to play on many occasions, creating her own music and songs, and she is shown on two occasions to be alone and playing without an audience. While it’s a skill she likely picked up somewhere between the brothel and the geisha house, it’s clear that it gives her a moment of peace.

The other is Anotsu Kagehisa. The first person to ever praise her swordsmanship, the only student she’s ever had, the only man to hold her in respect through her early years. She loves him, and cannot bear to shame him. She insists on paying him for his freeing her from the brothel, she would kill for him, she will protect him at cost of her own life; the only exception to this would be when he's in a one on one fight of his own choosing. (And then heaven help anyone who tries to interfere.) She’s convinced he only loves her for her talent with the sword (but as later events in the manga will show, this isn’t so.) This fact also shows Makie has low self esteem and little respect for herself (she refers to her own songs as amateur, she can’t see why a man would love her or even like her for who she is-- sex or her swordsmanship, she’s not a person to them, she is a figure of shame or someone exotic, depending on their point of view.) The promise she made Anotsu give her when they were young is not one she expects him to keep; rather, she takes joy from the fact that she can defeat him, because it means she has a reason to stay by his side. She’s needed. (Well, all that and she still bows out of killing Manji against Anotsu’s wishes, despite her love for him. But that shows at least that even though her love for him is strong, Makie still thinks — and makes decisions-- for herself. ) It’s Anotsu that pulls her out of her depression and eventually gives her drive to go on, but that’s history for another time.

All in all, Makie is a complicated individual who has been through a lot and would have been a lot happier if she’d been born in a different century. She’s indecisive, flawed, compassionate, sad, and self-destructive and she sees no joy in living on— but she does, for the sake of avenging her mother. On the other hand, when she fights, she’s a different person. She’s a dancer, she’s canny, instinctive, cunning, and moves so fast she’s yet to be in a fight where she gets a single drop of blood on her despite the slaughter around her — and she has killed a lot of people. She is both terrifying and awesome to behold, her face blank and serene, and Anotsu has a habit of just watching in fascination when he sees her fight (and kind of poking other people nearby to go “See? SEE? That’s what I can never be. Perfection”) and she develops a terrifying reputation by the end of the manga — but despite all that, break her concentration and she often loses her nerve.

Unless Anotsu’s life is on the line. Then heaven help everyone involved.

...and then Adstringendum happened.

Unlike my other two characters, Adstring changed Makie a great deal-- she arrived in a state of severe depression and fatalistic calm and trying not to be a burden to anyone at all. By the end, while she still vastly preferred being self-sufficient, she was content with her meager peaceful life and not at all wanting to return home to the tragedy waiting to play itself out. Apparently there's a lot of contentment to be found playing happy families with feral children surrounded by people you don't quite dare to call friends. But that's what they were, anyway.

Her personality traits are all still there, but the more deeply self-destructive ones are blunted. Makie has seen some value to her own existence, and it's the happiest discovery she ever made. While she's still quiet and of a retiring nature, she's a little more willing to extend conversation to people just because. And she loves Lilly dearly, seeing a lot of herself in the child; Makie wears motherhood well, it seems.



therewerefifty: (Default)
Entries below this point are for the game [community profile] luceti.

[Action]

Nov. 21st, 2013 02:43 pm
therewerefifty: (paintin with the colours of the wind)
[Makie has been feeling restless lately.  Usually content to live her days out in obscurity, she finds herself going out of her way to sit and people-watch more and more.  It's still much the same thing.  She's just...being obscure in company that doesn't notice.  Yes.  Or something.

If she were honest with herself, she'd know she was looking for someone in particular.   She's been thinking of similarities lately.  It's a nostalgia and a hurt, deep inside, knowing she will never go back to the person she truly loves.  If this is her life now, here in Luceti...surely it's all right to move on and consider another?  Even if the similarities she noted are stretched thin by further meetings...

But Makie is rarely honest.  So she fidgets and is restless, and today after work at the restaurant, she breaks from usual routine to go shopping.  The clothing store, trying on different outfits that aren't as traditional as her normal kimono.  She remembers wearing jeans fondly in her other life.   She ends up going home with a pair today.  (She may never wear them, but hey.  You never know.)

She goes to the item store for a more serious look at any hair ornaments she can find, and finds herself faintly regretting she ever cut her hair short.  That one last memory, of fingers gently letting her hair down in the moonlight on the bridge.  Only the more she thinks about it, the more the faintly disapproving face of her memories is replaced by another.

She goes to the teahouse to try and calm the unsettled feeling to her nerves, and ends up staring into space for a long time, unless interrupted by passers by.

She doesn't visit the battle dome at all, for once.  Instead, once she's done at the tea house, she explores the village, hoping for a glimpse of someone in particular.  It's...not unusual.  She just enjoys the company of someone so intelligent.  That's all it is.

There is nothing wrong here whatsoever.]



therewerefifty: (making an observation)
[It's not so much that Makie has a clean bill of health-- she needs to keep taking this medication for another four months or so, by the clinic's reports. But she hasn't had a coughing fit in weeks and feels pretty healthy, all things considered-- just a little drained, that's all. And now, she's passed the bar of her illness. She's no longer contagious.

Which means she can stop holing herself up in her room and start going forward with plans to actually, you know...

...live a little.

What a concept.

She still doesn't go out until the afternoon though, tracking down Saori (and other house members if they're around) to inform them of a decision she's made during her convalescence. And then likely packing what very few things she has, and putting haru-no-okina through some well-needed maintenance out on the sunny rooftop. But in the afternoon she goes to several places, shamisen in hand:

Seventh Heaven, to ask after her old job;

The tea house, because it's been a while;

The forge, to request a weapon;

The Welcome Centre, to find out what apartments are still free;

And finally, back to the battledome to investigate it more thoroughly. (She keeps an eye out for Konan on her travels, mindful of an offer made a long while ago. Just in case.) Once she knows sufficiently enough (or someone programs it for her), she steps into one of its rooms for the first time, shamisen neatly tucked to the side out of harm's way, and experiences it for herself. (The program name of the day: Shift Hunters. How fitting, that they're like giant wild dogs.)

...probably stays in there a little too long, though, since her stamina is kind of shredded right now.

Catch her at any of these places or anywhere in between.]

[Voice]

Aug. 19th, 2013 10:33 pm
therewerefifty: (earnest persuasion)
[Makie has had a lot to think about in the week since the invasion, and given the recovery needed, a lot of time to think it in.  By the end of the week, the lingering ties she feels to those from the event are gone, but she remembers their names, and still remembers many of them fondly.  (She sometimes wonders if, had the circumstances of her life been different, Makie would have been anything like that woman.  Shikamaru's mother.  Logan's cousin.  Older sister/mentor to teenagers and generally content with her lot in life.  Also, dying.  But it was a small price to pay.)

She's come to several conclusions in the intervening week.  She feels more peaceful for it, all things considered.   More certain of her right to be here.  And more contemplative on other topics as well, because now she's had a taste of the sort of enemy Luceti faces...

...when she finally feels more like herself, she addresses the journal, in a soft but firm voice.]


There is something I wish to ask, and one thing to clarify.  During the events of last week, my family name was Harukawa.  Please don't remember me by this name.  My full name is Makie Otono-Tachibana.  

[Strange thing to ask, she supposes.  Most people would have forgotten already, but... just in case.  She wouldn't stand for it.]

I had questions.  Or rather, a request.  I'd like to hear from any who have fought these cultists directly.  I wish to hear of your experience.  If you have the patience to tell me these things, I would appreciate it.

Miss Sage... [She hesitates a moment.]  If you have the time, would you stop by to see me this afternoon?  It...should be safe.  [A journal lesson is long overdue.]

...

[She comes so close to asking after her false family. Best to leave it alone.]

...thank you.

[Makie, the ever-formal, signing off. :|b]

[Action]

Jul. 21st, 2013 09:10 pm
therewerefifty: (welp. that's all she wrote.)
[This morning she coughs, and there is blood on her palm.

Cut for doom and gloom. )

Order of business. She's a coward, and leaves a letter on her bed, addressed to Saori:

I'm very sorry, but I feel I need to move away for a while. You've all been very good to me, and I thank you. It isn't because of anything any of you have done. I don't know how to filter on the journal. If you write to me later, I will explain.

- Makie

After that, she visits three places:

- the forge, to pick up her hopefully now repaired weapon.
- Seventh Heaven, although by 'visit' she'll stay outside and ask one of the staff to fetch Rin, if they could
- finally, community building #1 on a search for Tenten. She met the girl in a kitchen when she first arrived, and she needs to return a sword.

After that, well. She still has a list of empty apartments. She'll find a quiet one somewhere.]


((ooc: despite Makie's intentions, housemates are more than welcome to action in on her before she leaves the house if they prefer. She'll still be visiting these places regardless of the fallout-- where she ends up at the end of the day may change, that's all. Chrissakes Makie, it's not the 18th century, go see a doctor :|))


therewerefifty: (wistful)
[The day she spends like most, in her usual haunts; she works at Seventh Heaven, she trains deep in the forest. She finds time for a cup of tea in there somewhere. Makie keeps wrapped up more than usual; she's felt a little off, lately, so in case of oncoming summer colds she tries to take care of herself.

She looks for a man. (A particular one, hush.) Still can't find him.

She finally gathers her courage and returns to the smithy to see if someone can repair her weapon. Hopefully she'll see that boy again; he already knows. And if not, she'll just weather any awkwardness. Makie's slowly coming to the realisation that here in this village, it doesn't really matter, but old habits die hard.

When she finally returns home in the evening, she makes a cautious post to the network. She doesn't want to leave this any longer.

...does she really just need to write into the book? Well, then.]


[Written]

I'm looking for a gentleman I met during the time that... Twila arrived in Luceti. Sir, I never caught your name, but I would like to talk to you, if I may. I was the woman with the shamisen that
[...uh.] spoke to you from the rooftops in the plaza.

[...this is awkward. She stops there.

Whatever responses she might get, Makie fails to close the journal when she's done. Which doesn't altogether mean that much given there's dead silence for some hours afterward, as she just curls up with a book to read. It's punctuated maybe once by a fit of coughing.

It's only when it reaches about 9.30 that evening that a few stray experimental notes of her shamisen can be heard. And then Makie starts playing.  Sorry, any early sleepers. At least it's likely she won't be playing for long. >>;; Learning journal etiquette the hard way.]
therewerefifty: (I don't need it anyway)
[Makie's general thoughts on Luceti, once she gets used to the place (somewhat), are to make sure she earns her keep but, in general, fade into the background as much as possible. She's currently residing at the castle that is house 44, though she still hasn't met all the residents there. Makie is notorious for keeping to herself.

That doesn't mean she won't be seen all over town in the next few days, however, shamisen in hand. Errands, mainly. She has to return to Community Building #1 in the hopes that the journal she's supposed to have got left behind in Alexei's, uh... bathroom... and thank him for the courtesy he showed when she arrived. But on the ground floor, you see, there is an elevator, and...

...yeah, she doesn't really know what that is. After a minute or so of peering at it in confusion, she'll take the stairs.

Probably.

Other places she visits are the memory garden, the tea house, Seventh Heaven (to take up duties as a dishwasher, so mainly out of sight of the customers), and up to the farmlands just for the sake of exploration.

Eventually, she also visits the battledome, because she's been told about it and she is curious. But she likely won't stay long, because technology is intimidating, so after peering with a half-glazed expression at various controls and such, she leaves again, unless otherwise distracted. Such a place is no doubt for you magical types or...something.]


((ooc: this entry brought to you by the need to get a whole bunch of small things out of the way at once. Assume various parts take place over the 18th-21st for the sake of flexibility.))

Action

May. 4th, 2013 11:18 am
therewerefifty: (I did not expect to see you)
[Makie has had the facts of this place explained to her already, by a gentleman in a... fairly awkward situation.

It doesn't prepare her for the reality of a village with occupants like none she's ever seen before. Some of you aren't even human, Luceti. The hell. She wanders the path of the village from Community Building #1 down toward the plaza still in her New Feather dress, just like a gawking tourist, and spends some time staring at the fountain and plaza itself. Uh.

...right. Okay. Time to begin glancing through various shops in her attempts to find the places she was told her things would be. She finds her clothes with a measure of relief, and her shamisen at the item store-- and after she picks it up, she frowns. It's too light. She doesn't need to open it to know she's missing something.

Eventually, she'll find her way into the forge to pick up the last of her things, pays a visit to the Welcome Centre-- and then finally fetches up at the tea shop, which is the most familiar-looking thing here.

...sort of. Never really loses that dazed and confused look.]
therewerefifty: (Default)
PLAYER

Name: KJ
Journal Username: [personal profile] whiteadelphi
E-mail: kjgreenham@gmail.com
AIM/PLURK: Damn Fangirls/Kayjayyy (respectively)
Current Characters at Luceti: N/A


Application )

Fighting.

Jul. 1st, 2010 09:29 am
therewerefifty: (fight - swing arm)
Makie's fighting is a tricky thing. It isn't superpowered, there is no magic or move calling-- it's just plain swordsmanship. But she's a prodigy in that bordering-on-shounen kind of way and she's trained hard for years now on top of that. Her weapon is also unusual, a three-section chain/staff/pike thing that has no official name because it's one of a kind. Makie calls it haru-no-okina (the old man of spring) and she's fully familiar with every advantage she can put that weapon to.

She also conceals it in her shamisen.



Makie's fighting style is based on speed, spinning blades, and kicking or kneeing you in the face. That is: she's been described by some in the fandom as Mugen from Samurai Champloo, with more grace and less breakdancing. Her legs are powerful and, combined with the long reach of her pike blades, tends to turn Makie into someone best dealt with from a long distance away, or preferably not at all. In her own canon, she is described as the most dangerous swordfighter in Japan. Not swordwoman. She curbstomps every opponent she comes across. If someone walks away, it's because Makie lets them.

Makie's not very strong, and a lot of the tricks she pulls with that pike are based on sheer momentum; find the point of balance of the weapon and swing it, let the rest of the blade do the work. Many fighters who first see that pike stare at it and her thin arms and think she's laughably out of balance. This isn't an impression that lasts long. It's worth noting that Anotsu Kagehisa, the man she loves and the first and only student she's had, fights in much the same way. He has a slight build like hers, thin arms... and spins around a powerful axe as if it's nothing.



Anotsu often explains himself to tied up young girls, hush. /context what is that

But back to Makie. She's fast. When I say fast, it's remarked several times in the manga by various opponents (often right before their deaths) "How does she fight like that!?" She's canonically fast enough that she never gets a drop of blood on her, and around Makie's fights you can bet there's blood splattering everywhere. Apparently she's a fastidious sort of killer.




She also has an excellent head for martial strategy; not the kind that moves armies, but the kind that puts her at the absolute best advantage in any situation. It helps that she's so versatile with that weapon and knows its ins and outs. Through the manga we see her using that pike to vault up onto high ledges, stand on it as a makeshift platform and occasionally just use it to get a leg up.

Literally.



She also knows her sword theory and won't hesitate to lecture you on it in midbattle if you call her an idiot.




Wow so I'm getting to the point of throwing all these pages and going LOOK. LOOK AT MY BABY. GO READ THIS MANGA. So I'll stop there. Basically, I wanted to show Makie's strengths, weaknesses, and how she fits into the combat pool of Luceti, as it were. Because cross-canon can be such a complicated horrible mess in regards to these kinds of things. The only other strength I could say that is that Makie is not restricted to the pike. In the first fight we see her in the manga, she steals the double-bladed sword of her opponent and uses it against him. She was trained in proper swordsmanship as a child. But as we see her as an exiled 12 year old using a smaller version of the pike, it's obviously her signature weapon and the one she's trained with most. And it shows.

Which then brings me to weaknesses, because we've already shown her strengths. Later in the manga, this is less of an issue, as she crosses her own moral event horizon after the canon point I've chosen. As at the time of volume 3 of the manga, she is still heavily conflicted about the fact she can deal death so easily and the shame that it brings her, because despite being able to do these things, Makie hates dealing death.

But she loves to fight. One could even say it's an addiction. Despite the pain it brings her, she has never managed to give up the sword. When she hits absolute despair in the manga, she sews up her sword hand, which both (a) shows she's not entirely mentally stable at the time and (b) is the mark of an addict that can't trust she can throw the sword away on her own.

What that means is this: Makie is the picture of serenity when she fights. She's utterly lethal-- until her concentration breaks and she realises what she's done. And suddenly, her skill falls to pieces. Some people find this humiliating.



^ That's Manji, immortal protagonist. He's awesome.

Basically Makie is lethal until her concentration breaks, if and when it does. If I canon update her, it'll cross the line where she throws away her internal code of honour for love (after so many years of resisting) and that won't be the case, but then she'll have another weakness entirely, and that will be the fact she has tuberculosis. She's still lethal... so long as she has the breath to fight you.

Where it comes to Luceti (or, indeed, any game I end up taking her to), she'll obviously be at the extremely high end of the badass normal crowd. In a fight where both occupants are just fighting with normal means at their disposal, she'll come out on top-- within reason. She comes from the 18th century. Fire a gun at her and she'll go down in a heap. She can't block bullets with her sword-- bullets and guns that efficient don't exist in her time period. Anything she's not used to, she's at a heavy disadvantage for. Likewise, anyone who throws magic at her is going to wipe her out real fast. Admittedly she will adjust if given enough time to do so, but in any fight she's likely to actually engage in, she won't have that much time. (A second or third fight if they happen might be different, but I can't see that happening often, if ever. Despite her skill, Makie will only fight if she has to-- or to protect someone she loves.) But Makie vs. anyone with a melee weapon or anyone who just plain underestimates her will turn into a curb stomp battle with blood everywhere

Bottom line, I will play her as if she can avoid all attacks unless your character is superhumanly fast, but whether her own attacks connect or not with your character is entirely up to you. As said, mostly she'll be fighting NPCs if anything, but on the chance she picks a fight with a PC, then I promise you I'm not being a prat by not having her hit. She's canonically that in tune with her close spatial surroundings and that fast, and she's a prodigy and kinesthetic genius. If you think otherwise, though, I'm always willing to work something out with you.

Lastly, to get a vague idea of how she really moves, here is an AMV that shows how she fights. (Also, don't ever watch this anime. It's terrible and does none of the fights justice besides, but you can at least get an idea!)

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