Minoyaji

**"Thanks for visiting *Minoyaji*! If you don't have permission to do anything on this page, please don't touch it! Other than that, let's enjoy our meal together!"**

**"*Minoyaji* belongs to Yumoz, so don't touch anything unless you have his permission. I'll chase you until you fix your mistakes. I mean it, you wad!"**

**Minoyaji** (身の野神, *Body of the Wild God*), or alternatively known as **Minoyaji** (身の冶神, *Blade of the Molten God*), is the name of a fighting style created by Kaiyon and Yonkai. Though "Minoyaji" as a concept for the duo has been around for several arcs, they have shown to have difficulties deciding what the specifics of the fighting style should be. It wasn't until the **Wild Blue Yonder Arc** that the fighting style was decided to be a cumulation of their various lessons with their various mentors and experiences with their friends and family, ultimately leading to the goal of creating a fighting style that would allow for them to still deliver powerful damage, but only have it harm their intended target(s). The name of the fighting style comes from the Zanpakutō of their first mentor and father figure, whose Zanpakutō is named **Minoyaji** (神の親父, *Father of Gods*), acting as an homage to him and all he's done for them.

The fighting style is divided into two sets of classifications. For the first set of classifications, Minoyaji is divided between **Lightweight** and **Heavyweight**, which are utilized by Kaiyon and Yonkai respectively. Lightweight-based techniques are for more nimble movements, whereas Heavyweight-based techniques are for more grounded applications. This allows for users of all body types and fighting styles to utilize Minoyaji, while also adhering to users that either prefer to fight with their body or their weapon.

The second and final set of classifications are between **ʻO ke ola Minoyaji** (身の野神, *Life's Body of the Wild God*) or **ʻO ke ola Minoyaji** (身の冶神, *Life's Blade of the Molten God*), and **Ka make Minoyaji** (身の野神, *Death's Body of the Wild God*) or **Ka make Minoyaji** (身の冶神, *Death's Blade of the Molten God*). Unlike Lightweight and Heavyweight, ʻO ke ola Minoyaji and Ka make Minoyaji are based off of killing intent rather than specific movements, as the former is more for dealing any specific amount of damage, either being minimal or otherwise, while trying to keep the target(s) alive. Ka make Minoyaji, however, functions entirely off the idea that all techniques used will kill their target, or at the very least holding the intention. ʻO ke ola Minoyaji is an homage to their mother, Māyā, whereas Ka make Minoyaji is an homage to their father, Shinigami, the Life Goddess and Death God respectively.

Overall, the fighting style of Minoyaji requires intense training and conditioning to ensure that each movement is as precise and impactful as it could be without going higher, or lower, than the intended damage. The training for this fighting style requires for the user to understand their own power in comparison to their target(s) and the environment itself, as the overall purpose of Minoyaji being constructed this way is due to Kaiyon and Yonkai fearing what irreparable damage could be done if they are not careful as they grow stronger and stronger.

## First Course

The First Course of Minoyaji holds the very basics of the fighting style that focuses on understanding one's Reiryoku, Reiatsu and their interaction with things not part of themselves. The teachings of the First Course requires for users of Minoyaji to have an innate understanding of their own power, the effects it could cause onto the environment or others, along with what it could do to themselves, as a body has innate limitations that many are not aware of, so Kaiyon and Yonkai express that understanding one's limitations, and trying to improve upon them, is very important.

* **Kauoha** (Hawaiian for *Order*) is the very first technique taught to students of Minoyaji, as people tend to learn better from viewing others rather than themselves. Utilizing the South's **Atirvu** (Tamil for *Resonance*), the user follows the "flow" of the opponent, or the environment, to get a better reading on the target. To enhance this, Kauoha users utilize **ʻAuana** (Hawaiian for *Drift*), one of the principles of **Pālani** (Hawaiian for *Rhythm*), for better understanding of their target, as Pālani fundamentally relies on Resonance. This technique's purpose is to gain insight on their target's power, whether hidden or otherwise, often acting as a good opening technique to understand where the flow of the battle will go from here.
	+ **Kauoha Hoololi** (Hawaiian for *Changed Order*) is the second technique taught to students of Minoyaji, now shifting from understanding others to understanding one's own strength. Most people often struggle with understanding one's own power, and could inadvertently cause damage to themselves, or others, as a result of this. In rarer cases, this technique is taught first instead if the student requires this kind of conditioning first. Following along with the usage of ʻAuana, a user now adds **Kuamua** (Hawaiian for *Core*), a Pālani principle that focuses on weight distribution, and **Nalu** (Hawaiian for *Surf*), another Pālani principle that focuses on movement overall, for physical and spirituality purposes. This "centers" the trainee, allowing for them to gain a better understanding of the flow of their Reiryoku and Reiatsu.

* **Inryō** (飲料, *Drink*) is the very basis for the spiritual side of Minoyaji, where practitioners will begin to utilize their own Reiryoku and Reiatsu, and then applying it between themselves and their opponent(s), rather than choosing between the two. By way of utilizing the Eastern principles of Hakuda's **Chushin** (中心, *Center*), focusing on the user's Reiryoku interaction with themselves, and Zanjutsu's **Edge Alignement**, focusing on the user's Reiatsu interaction with the edge of their weapon to increase its cutting prowess. Furthermore, to assist users of Inryō, the Pālani principles of **Ikaika** (Hawaiian for *Force*), a practice that focuses on utilizing one's own body's strength, and **Olaola** (Hawaiian for *Vitality*), a practice that focuses on spirituality interaction, are used in tandem with the Eastern principles. Though Minoyaji adheres to both hand-to-hand combatants and weapon specialists, Inryō is an exclusion of this rule, as it focuses on a user's understanding of their Reiryoku and Reiatsu, which forces Inryō users to turn their Reiatsu into a weapon that one can apply Zanjutsu to.

## Second Course

The Second Course of Minoyaji plays off of the First Course specifically, as it puts a more aggressive focus on one's body, rather than one's spirituality. Within the First Course of Minoyaji, users utilize their own body off-handedly, in favor over more precise control over their Reiryoku and Reiatsu. The Second Course of Minoyaji reverses the roles, as it now primarily focuses on one's physical body, while their spirituality supports them and their movements so they could strengthen their own defense and offense while knowing when to hold back, or to go further.

* **Kauoha Elua** (Hawaiian for *Second Order*) upgrades from Arirvu usage to **Axilia** (Nahuatl for *Hunt*) usage, selfishly resonating with themselves to increase their physical prowess, supported by Hakuda's **Kanjiru** (感じる, *Feel/Sense* to gain a sense of where their body's energy is flowing into. In normal cases, this would be likened to **Henshin** (変身, *Transformation*), but it instead works differently to allow for the Reiryoku to flow freely so it's kept where it needs to flow into. These movements are supported by ʻAuana for easier understanding. Finally, to further support their own movements, the user utilizes their Reiatsu to perform a **Mune** (棟, *Back*) onto themselves to further increase their movements. This is more closely related to **Ryodan-Ryu** and **Ryodan-Ken**, with the added benefits of other principles.

* **Kuchitori** (口取, *Appetizer*)
	+ **Yagyūhane** (野牛翅, *Buffalo Wings*) is a type of impact strike done with a user's elbows, knees, or the back of their weapon on the enemy. Once the user has impacted onto the target, they release their Reiatsu in the form of a wave across the target's body from the impact zone to damage an opponent entirely, while also temporarily removing them from their rhythm. Because of the way this technique functions, it is primarily seen as a defensive technique. This technique receives heavy support from **Nalu** and **Kuamua**.
	+ **Tamanegi Enjin** (葱頭円陣, *Onion Rings*) is exclusively a **Ka make Minoyaji** technique that emphasizes lethality when attacking an opponent by way of palms, soles, or the sharpest part of a weapon. A practitioner focuses on a target's organs, such as the heart, or brain if they could reach it, and then puts in a quick sense of powerful force, usually in tandem with precise Reiatsu, that ejects the organ cleanly out of the body of the target. This technique receives heavy support from **Ikaika**, Hakuda's **Shun** (瞬, *Blink*), and Zanjutsu's **Bunki** (分岐, *Bifurcation*).

## To Be Decided

* **Hoailona Kenpachi** (Hawaiian for *Kenpachi Markings*)

* **Tres Leches** (Spanish for *Three Milks*)

## Weaknesses

* **Ka make Minoyaji** is an unintentional weakness of the fighting style, regardless if it was named by Kaiyon and Yonkai. Because of the conditioning of the style, it is impossible for a truly talented individual in the art to not know when their techniques will have necessary damage to kill their targets. While Kaiyon and Yonkai do not teach this, and prefer to not utilize this style, it is an unintentional consequence of Minoyaji.

## Trivia

* Credit to Rukiryo for the Kanji and translations for this fighting style.
* Minoyaji uses a mixture of Spanish, Japanese and Hawaiian terminologies, fitting with Kaiyon and Yonkai's past life as a Hollow, their current Japanese descent, along with the Hawaiian theme of Neo. For the supermajority of Minoyaji, the Hawaiian-named techniques are supportive techniques, while Japanese-named techniques are the actual combat techniques. Spanish-named techniques are often a Kaiyon and Yonkai-exclusive because they can do things most people cannot do.
	+ Most of the techniques within Minoyaji also follow a food-theming, as evidenced by the tiers of Minoyaji following different types of courses, and the techniques within the courses have different types of that course's theme, such as more specific-named techniques within the Second Course are named after drinks.
		- Minoyaji follows the Full Course Menu of the Toriko series, rather than any real-world Full Course Menus.