Izari Kenshiko



Izari Kenshiko (躄剣歯虎, Kenshiko Izari; literally meaning "Crawling Tiger") is the current holder of the  (剣八, Kenpachi) title, having inherited it directly from after the latter defected from the  in search of his former lieutenant,. Emerging as a constant threat to the due to his frequent ascensions in power, he was branded a member of the Jūsanseiza, with the designation Leo (レオ, Reo; Latin for "Lion"); though ultimately, the title was removed after he claimed possession over the Eighth Division.

Student to the Yonkō, Izari has mastered each individual aspect of Zankensoki to the point of perfection; this, in tandem with the gruesome powers of his, have since led him to be feared as Kuroyasha (黒夜叉, Black Demon), which in itself serves as a comparison to the almighty Shiroyasha himself —Seireitou Kawahiru. Still yet, even despite his becoming of authority within the Thirteen Court Guard Squads, Izari is still frequently monitored by the Central 46, something which he is apparent of himself.

Birthed within the "noble" house of the Kenshiko tribe, Izari very swiftly became the patron of the clan by following through with its ancient family tradition; indeed, he took the life of his father to gain command over the family, the previous head to the kin as well as the very man who instructed him of the principles of the blade. While overlooked as menial behavior by most others, it functions as a rite of passage, for if any one being is to be made worthy of declaring himself the head to the Kenshiko tribe, then he must display that very strength against the strongest threat they have to offer.

Appearance
There is a truly magnificent magical power that embodies the soul of a shinigami, for they live on for centuries, eons even, without the slightest physical alteration. This is in itself a testament of their strength, allowing them to maintain a fighting standard well past their glory days; likewise, the one fabled as Izari Kenshiko appears as a man quite possibly in his middle ages. He is a man bearing intricate design upon his visage, which is shamefully scorned by the dull expressions that so frequently curse him. Even so, beneath his boredom rests a chamber of beauty, one garnering a prominently shaped nose slitted with acute nostrils. Just beneath lie in wait a pair of lips, who have yet to yonder past the gracious festivity of what is the physical manifestation of romance; they have met only the hilt of his blade, deducing the necessity of such a trivial factor. Climbing upward through the steam follow in heaving paranoia a gleaming set of eyes, those who immediately cast judgement upon others, in the attempt of seeking a worthy opponent so as to fulfill this aforementioned boredom of his. It is in truth this very sensation that gradually determines the look upon his face, for if he were to come across a being he has himself deemed to be of interest, then no longer would his eyes droop, nor his lips sag.

Even in stature is he complex, garnering a body forged from the hell bent flames of war. Beneath his shinigami attire —where no woman has ever trespassed before— is an astounding physique made celebratory by the presence of a grueling array of muscle; so very compact within its dexterity, it most obviously serves a purpose beyond the concept of physical attraction, though would ultimately acquire such fame if it were to be exposed on any occasion. Like rifts in a mountain his shoulders spring to the sides, capitulating his thoracic argument like a trophy outside a display. Much like the latter, it is a truly detailed achievement, kept consistently polished through the shinigami art of training. From above oozes the dark blanket of his mane; likened to a demented field of mud who has been pitted into an endless battle against itself in regards to the path it should follow, it sprouts aimlessly from his cranial, spilling over all sides of his face. His ears, who are nothing more than mere obstacles like rocks would be to this pit of mud, are often times caught within this disaster, and forever sealed away, making them hardly visible. However, as there would exist a limitation to every phenomenon, a border that restricts, his hair fails to reach beyond the pockets of his nostrils; though allies from the same team have apparently made it across this field, for there is hair forming on the tip of his chin, riding a current upward to the specks of his jaw.

Paying homage to the ancient history composing the thirteen court guard squads, Izari can be seen sporting the talons of the shinigami; pieced together by a fabricated onyx black kimono, it clings to his flesh as a loose fit, much like an inflated balloon of the sorts. Acting as an additional layer, there is a vanilla white undergarment worn and aligned with his robe for further comfort. One could easily fall asleep within these robes, for they are truly so soft; beyond the presence of the secondary garment, Izari does not complicate himself with customizing his shinigami attire, most nearly because he could care less about it. Indeed, it is fitting that there exists a proper dress code for a member of the Gotei 13, for if it had been left up to Izari for choice, he may have not worn anything at all. Such weariness is most certainly at an extremist's capacity, though it all nurtures about the fact that he truly does not care for his physical appearance. Masking his physique and emphasizing his position is the traditional haori awarded to all who have attained the captain class; Izari in particular has elected to leave aside his sleeves, which fall beyond his wrists. The insignia of the Eighth Division is scraped across his backside, certifying him as the most prolific medic in all of Soul Society. Ultimately, there is a dark obi sash tied around his waistline, responsible for holding his zanpakutō in place, made complete with dark sandals over cream stockings as a choice of footwear.

Personality
Much like the tender autumn breeze that nestles the cherry blossoms of his favorite forest, Izari is a serene entity who embodies the throttles of tranquility to its fullest. He speaks not with his lips, but instead, through the manifestation of a peculiar gaze, one that nurtures the soul of the recipient, comforting them even in the midst of their greatest of troubles, for speech is not nearly enough to convey his message. It is both convincing and intimidating at the very same time, depending on the relationship that exists between he and the person in question; it could very well be an invitation to a warm meal beneath the starlight sky, or the assurance of the other person's demise. A theory exists behind his frequented silences; some believe it is due to being consistently lost in thought, while others —namely those who are attracted to him— circumvent it to shyness. However, it is actually due to a lack of interest with all matters that do not concern him. In such moments, he will remain completely still, without so much as an attempt to contribute to the conversation. With his eyes alone, he is constantly casting his judgement upon others, which includes whether or not they are to be considered worthy of his efforts.

Perhaps the most intriguing quality regarding the enigma that is Izari is his surprisingly meek orientation, surpassing even his prodigal talent; he embodies great respect for his elders, addressing them with the proper honorifics associated with their figure, as well as for others in general. This is more or less considered to be highly unexpected by most others, due in part to the amount of power Izari had collected in such a small period of time; they would have thought him to be spoiled by such riches, and uncharacteristically arrogant, especially pertaining to the fact that he came of prominence at an adolescent state, and the expression that is so frequently plastered upon his face. However, in truth, he is humble and forgiving, quite appallingly so. A student of the game, his ambition has led him to the doors of countless mentors in the past, whom he credits by expressing the stains the soles of his feet have created within each of their matts. This is in part because he acknowledges certain others in being superior to himself in certain aspects, supplemented by his own ambitions to grow stronger; he is one to grow fond over what he sees relatively fast, being so easily impressed to the point of wanting to immediately add something into his own repertoire.

Nestled within him lies an unquenchable thirst for battle, one that has led him astray and onto a path seeking victory against the world's most promising warriors. Indeed, Izari may very well be obsessed with the concept of battle —the very word intrigues him to no end. There is something about the flicker of the blade, the shuffling of the feet, the overall mechanics of battle that arouse Izari, leading him to crave a worthy opponent throughout every second of the day. Within the heat of battle, when most others are overwhelmed by the makeups of war, it is said that Izari instead thrives under the pressure; in fact, he looks forward to those particular circumstances in which he has been pitted into a corner most of all. This ambition has led to his becoming of a pawn of the sorts for the Central 46 —rather ironically, as they initially had foreseen him as an enemy beforehand— where he carries through with their various battle orientated assignments for the sake of finding himself a fight. By extension, it also allowed Izari to claim the title of Kenpachi after the Central 46 had ordered him to terminate Zaraki Kenpachi.

Abilities and Powers
Unnatural Growth Rate: From the dawn of his existence, Izari was blessed with an overarching constraint of power that immediately hailed him as a unique individual. Thereafter, he explored an incredible curio of wisdom, which, despite his age of adolescence, allowed him with the thinking capacity of a fully grown man. He progressed through his childhood at an alarming rate, accomplishing various assignments that would have taken any ordinary being an extended period of time in what was a mere matter of years, such harboring a Zanpakutō and awakening the powers invested within it to gain access to its Shikai form, when in comparison, many seated officers within the Gotei 13 were struggling to accomplish the very same thing. This was, quite appallingly, all attained even prior to his entrance into the Shin'ō Academy, which failed to educate him in any matter he wasn't already quite fond of, when the time of his acceptance finally came around. His frequent ascension was reputed as blasphemy by the likes of the Central 46, who contemplated his murder on several occasions out of the fear that Izari would soon grow out of control. His growth rate in itself almost single-handedly dictated Izari's deployment into the Jūsanseiza, which only goes to speak volumes of how truly ridiculous it is. He has proven himself to be an even quicker learner when met by a capable instructor, multiplying the rate at which he progresses tremendously. Essentially, this is true even when confronted by a formidable opponent; the stronger his opponent, the stronger Izari becomes, which may ultimately be his most frightening characteristic.

Tremendous Spiritual Power: Likened to an active volcano whose eruptive nature knows no bounds, Izari has nestled within him an oceanic plethora of spiritual power. Coursing through each of his veins, it was said to have rivaled that of a seated Shinigami officer just upon his coming into the universe; now, with Izari having been transformed into a Captain of the Thirteen Court Guard Squads, it is on an entirely separate level, to the point where mere fluctuations of it are enough to decimate the surrounding area, heaving quakes in the ground and ripples through the skies. Long term exposure to this potent reiatsu is enough to annihilate those within its presence, allowing Izari to emerge victorious in his battles without having to lift so much as a single finger. The pressure, at the very least, is suffocating, depriving his opponents of their senses all the while plunging their bodies into the ground and forcing them to kneel down before his might. It is through the process of relying on this magnificent power that Izari fights his battles, as a fight between any two beings is merely a struggle between two spiritual powers. A rather enthralling monument, the shape and texture of Izari's reiatsu is reminiscent of the high ranked spell, Kurohitsugi. It is black in color, with a dark purple trim stemming the frame. This is likely some obscene side effect of Izari having traversed the boundaries of the spell far too often.

Kidō Master
This breed of power is undoubtedly profound in context, heaving an advantage in the direction of the practitioner when pitted against another race, due to the incredibly vast array of feats each individual spell is able to accomplish. Even so —much to Izari's chagrin— there are foolish Shinigami, such as those of the Eleventh Division, who would much rather be without this insurmountable advantage, essentially enlisting themselves into a detriment for no more than the trivial sake of pride —Izari is not like these morons. Quite on the contrary, he is actually rather well versed within the Shinigami art of magic; no, such a statement would only be an understatement; possessing an unprecedented constraint of spiritual energy, it could even be inferred that Izari would have been naturally adept within Kidō. For this reason, as much as he would have liked to claim that it was he who went to the art, in actuality, due to the foundation of his uprising, it was Kidō who was calling towards him.

What ultimately led Izari to venture down the path of magic was his love for fighting; though he did not immediately look to uncover an advantage over his opponents, he did in fact wish for his battles to be more meaningful, and longer in length. And thus, he came upon the idea of contracting an ability that would have allowed of him to heal himself in battle, enabling him to continue fighting for extended periods of time —long after any other would have grown weak and tired. The very idea aroused Izari, and he very swiftly indulged within the ideas of Shinigami magic; seeking to become a sorcerer, he surrounded himself with literature of all kinds, strengthening his mind unintentionally in preparation for taking on a truly menacing task. Even for a prodigy such as himself, Kidō proved to be rather difficult to grow adept within, most nearly because it was so much more different than all the other physical arts he had seen up until then. Indeed, he found that he would have to approach the monstrosity of what was Kidō in an entirely separate way. Overtime, as his knowledge expanded itself, and he gained a degree of control over his own spiritual aura, Izari experienced a similar taste of success.

With Kidō, Izari is able to make use of elemental orientated techniques he would have otherwise missed out on, due to having a Zanpakutō that varied far from such an idea in terms of classification. For him, accessing Kidō was almost a way of escaping the burdens —ironically— of his Zanpakutō's ability; what he missed out on he very quickly compensated for with the help of magic. Still yet, even after becoming of captain class and being considered a master of the field of Kidō within his own right, Izari still felt incomplete, as if something was missing. This emptiness led him to seek out the Yonko of Kidō himself, Kazuya Kuchiki, to further refine his skills. As he so desired, Izari polished his usage of magic under Kazuya, who humbly instructed several of his personal methods to him without once asking for anything in return. Most important of all, Kazuya emphasized the sheer necessity of Izari incorporating the style of Eishōhaki into his prowess, so as to be able to garner the ability to weave spells without his opponent having knowledge over which type of spell he was utilizing. With respect to Kazuya, Izari has since come to possess a degree of mastery over the art of silent sorcery.

 (破道, Way of Destruction): The literal Shinigami path to destruction, Hadō is without a doubt the most celebrated aspect of Kidō, in that it essentially transforms the practitioner into a sorcerer; in this aspect of combat, spells not unfamiliar with the concept of magic become Izari's primary weapon, which are both employed and enhanced through the sound of his voice, in the form of an incantation. Being an array of offensive orientated spells that are garnered with the intent of dealing damage to the opponent, it is for this reason that, out of his vast repertoire, Izari makes the most frequented usage of Hadō. He has shown himself to be capable of using spells within the caliber of the nineties without the need of an incantation, and has furthermore been able to make devastating usage of even lower leveled spells, to the point where those opposing him are often appalled at how a simple spell could have been upturned to wreck destruction on a grander scale. Due to normally handling his sword with one hand, Izari's skill enables him to keep his offhand free and able to cast Hadō spells within the blink of an eye, so as to catch the enemy off guard, as well as to maintain a level of versatility within the variation of combat he employs. He is especially skilled in switching between these styles —more directly from Kenjutsu to Hadō— rendering his actions very difficult to predict.
 *  (赤火砲, Red Fire Cannon): A spell encompassing the element of fire, it is widely garnered by many Shinigami across the Gotei 13 —secretively even among the Eleventh Division, as it is— and as a result, unjustly marked feeble; while it is true, to a certain extent, that the spell is among the most common associated with the Kidō practitioners of the Soul Society, that is not to say that it is of little value, even when standing by itself. Paying refuge to the whispers of the lost, Izari nestles the tainted auras of the deceased into the physical contamination of a sphere; this highly compact ball of magma can be either projected through the palm of Izari from a distance, or more preferably, transferred to the enemy via direct contact, with credit towards Izari's impressive speed. While regarded as a spell within the thirties, Izari's usage of it is said to be on another level; he is even able to employ the spell in the form of a large blast —likened to that of a beam— so as to make it that much harder for his opponent to evade or predict. Due to the scorching hot flames composing the attack, he can even call upon it to melt various substances, such as ice, or to simply function in the manner of a light source, as a candle normally would. In the past, Izari has demonstrated the ability to unleash the spell with a volly-like effect, shooting one ball of fire after the other to increase the overall count unleashed upon his prey.
 *  (白雷, Pale Lightning): Lightning is often times associated to the testament of a God; so how was it that such a technique cascaded in rank?; Izari simply does not understand. The spell itself is highly effective; due both to its power to pierce through several layers of refined protection, as well as the fact that it can be —as suited by the theme of lightning— employed instantaneously, leaving the victim in question with very little time to act, let alone comprehend. To begin the attack, Izari concentrates spiritual energy into his hand, before refining it to all but a single finger. Thereafter, he discharges a vibrant laser constructed out of lightning that is enough to virtually penetrate any kind of defense, plunging a gaping hole into his opponent. When targeting the vitals of his opponent, Izari brings about an end to the battle. This technique is the most reputed lightning style attack within the entirety of Izari's arsenal, and one of the few spells that he has truly mastered, to the point where its usage is effortless to him. Also, because it makes use of a single finger, this is frequently garnered by his offhand while his sword arm works to capture his opponent's focus, creating an opening for it to be used in full effect.
 *  (闐嵐, Orchid Sky): Very few spells ever incorporate the usage of the Zanpakutō as a necessity; in that sense, this spell can be foreseen as unique. However, even beyond this trivial aspect, it is a very formidable asset in battle. A wind orientated spell, it is staged through the compliment of the Shinigami's Zanpakutō; as if harnessing some telekinetic values, Izari places his sword before him —literally resting it on the surface of the air, treating it as if it were some form of solid equipment— causing it to levitate in place until he gently tips the side of the hilt, invoking a flurry of madness. The sword begins to spin, faster and faster, preparing what will soon be a refined assault of air. In the midst of its excitement, Izari reaches to grip his Zanpakutō, catching it by the handle; and then, by channeling the built up energies, he fires a horrendous cyclone of wind towards his opponent. Being composed of air particles shaped into the literal form of a blade, much like a raging twister, the spell shreds whatever comes within its path to pieces, withering them away limb by limb.
 *  (黒棺, Black Coffin): Dreaded black from the terrors of the abyss, this spell is said to harbor the very core of evil, so much so that it corrupts the heart of the caster itself. Izari's personal favorite, he has familiarized himself with this spell to the point where its control can be rivaled by the blinking of his eyes; it is also the spell he has the single most mastery over. It can even be perceived that the spell itself was the origin of Izari's infamy as the Black Demon. Flicking his hand to the side, Izari raises a single finger, causing a tremendous surge of black energy to envelope his frame; next, the world around him grows dark, and trembles under such gruesome might as if scorning in fear. Jagged black walls swarm around, forming into a large pillar, encasing the enemy for devastating effect, or even himself to make for line of protection. Furthermore, as the spell's power is even able to disorientate space and time, it functions hand in hand with his own Zanpakutō, which accomplishes a similar task. Izari's mastery over the spell foresees uncharacteristic usage; he is able to mold the framework of Kurohitsugi over his Zanpakutō like a sheathe, supplying greater slashing power while also serving as a means of defense. The power of the spell is such that it devastates all in its path, showing mercy to none. His vast plethora of spiritual energy allows Izari to cast the spell up towards four times a day, albeit reaching a limit may as well leave him at the brink of death itself.

 (縛道, Way of Binding): What can be afforded to being the most gracious act of the magical arts invested by the Shinigami is without a doubt that of which is fabled as the Way of Binding; for, it accomplishes a feat more beneficial than of any other opposing breeds, posing the capability to conclude a battle within the time frame of the first drawn breath. Indeed, Bakudō is the craft composed of supplementary spells by which a true sorcerer beckons; the usefulness of a spell far exceeds the power sworn by its more familiar Hadō counterpart. Shinigami are afforded menial tactics of which are used to orchestrate opulent stratagems. Likely so, the greatest weapon within the arsenal of a wizard who has mastered this concept of war is patience —like a trap set to catch a stray beast in a forest, the Shinigami awaits the demise of his opponent, setting his plan into action from behind the scenes. Though he makes most frequented use of Hadō, Izari in truth is the most proficient in his methods of Bakudō. On his behalf, it is garnered in a way in which as to catch his enemy completely off-guard; as thus, he will often times set up some sort of seal and work to distract the enemy into triggering it at some point in their battle.

 (詠唱破棄, Incantation Abandonment):

Zanjutsu Master
From the very beginning of his life and throughout his early childhood, he displayed prodigal talent in the way of the sword; more than just raw talent, it seemed as though the boy possessed a natural affinity towards blades of all kinds, with their usage somehow being apparent to him straight from his origins. Many prophesied that Izari learned to wield a katana even before he learned to crawl; this fable in itself is not the slightest bit farfetched, as it was through the disciplinary means of his forefathers that he saw a rigid training regime from the very second his soul drew breath. While most newborn children are cradled and held within the arms of their mother, it is said that a weapon was instead placed within the hands of this demon baby, paying homage to the ancient traditions of the Kenshiko tribe, which they have practiced since the founding of their clan.

Birthed into a family infamous for their horrid blood lust and cannibalistic means of survival, it was not only an expectation for Izari to master the ways of the sword, but also a sin for him not to devote his life to the art. Abiding to the ancient prayers of his ancestors, Izari saw training under the guidance of his father —the 15th head of the Kenshiko clan. From early morning to late in the night, the child honed his skills in various fields of swordsmanship, until his very essence of life betrayed him, forcing him to his knees and into an unconscious state he referred to as his time of rest. When his body collapsed under the pressures of such rigorous combat, Izari resorted to using his own bones as weapons, so as not to burden the name of his family. For a very long time, he believed his skin color to be red, as his body was always tainted with blood for the most part; it wasn't until it began to rain during one of his exercises and he watched as the blood was cleansed that he had any true knowledge of his own structure. This was also factored into the sense that he devoted much of his time to honing the sword; there was no time to waste on anything but training, and most certainly not to look in a mirror and admire oneself.

Even amongst the insurmountable expectations of his kin, Izari emerged as a genius. The bond he now possesses between himself and each of his katana is likened to that of siblings. In fact, it has become a running gag for Izari to openly acknowledge his blade as his one and only partner, and by extension, his soul mate. He understands the concept of swordplay so well that he is able to decipher the arsenal of his opponent simply by witnessing the most subtle of movements. This is due to him having experienced essentially every bit of stance a swordsman can display with their weapon, and the fact that he himself has replicated such gestures to the point where each and every one of the muscles in his body have memorized them completely. While judging reiatsu is said to be one of the most difficult feats a single Shinigami can accomplish, still yet, Izari's concentration goes beyond the norm.

Attributed to his frequent exposure to them, it almost seems as though Izari is able to speak to swords. While it is an absurd logic, it is not through the means of verbal communication, but rather a telepathic link he has gained through being within the presence of them for so very long. While no sword is a living specimen of any kind, meaning it does not truly possess emotions of any kind; nor can it harness its own ideals of any sorts, it is through the justifications of the instrument itself that Izari comes upon his own conclusions. For instance, when one wagers their blade against another, there is a distinct noise that is summoned, triggered by the fabrications of the rugged meta clashing against one another; reading these sounds, Izari determines the sword prowess of his enemy, and how experienced they truly are. Additionally, he is able to read the patterns and over all sensation a sword gives off by matching against it, or the behavior that is exhibited by his opponent.

With his refined sense of power, there appears to be no clear limit as to what Izari is able to cut with his Zanpakutō. From his days as a child, he has been seen slashing through solid concrete without much effort, and without breaking a single tear of sweat. He has long since proved his superiority over all types of metals, beginning with iron, which in his case, is likened to no more than a sheet of paper. There is no clear hesitation evident even when pitted against an ornament of the steel caliber for Izari, who plunges through it as if it were a bar of butter. He is shown to be able to cover a large distance with a single strike, leveling whole mountains and even entire forests with a single strike. As if his prowess with the sword was not already enough, Izari sought out Raian Getsueikirite, the Yonkō of Zanjutsu, to ensure that there was not a single wasted movement within his swordplay. Under Raian's tutelage, Izari took yet another enormous leap, to the point where he is able to shatter the opposing Bankai of his opponent without the release of his own Zanpakutō, something that makes his former level of prestige dull in comparison.

He can quite literally shift his mechanics in the midst of an assault, often times leaving his opponent in a trance, discerning their ensuing hypothesis. He relies on this factor only to alter the perception of his enemies, however, and more or less to prevent himself from being easily foreseeable. Being so well rounded, he is known to be able to shift from a variety of stances in a short period of time. Beginning from a very subtle and otherwise gentle approach, he can swiftly alter his style to accommodate for a much more explosive and reckless form within the blink of an eye. This change of gears can create several openings for Izari, whose opponent had likely adjusted to the tempo of his initial attack. Much like his mentor within the art, Raian, Izari's first intent is to disarm his opponent through aiming for their sword arm. It is a very important matter to detain that the strength Izari draws forth is not immediately from his tool of choice, but rather, stems from his own resilience. This means, that as far as he is concerned, any and all weapons within his grasp are meant only to be as powerful as a wielder; in retrospective, even if he were to be met by a godly weapon of mass destruction, he would be able to emerge victorious simply through the supplemented use of a writing utensil, if their powers were to be so vastly different. It matters not what sort of weapon the man utilizes to wreck havoc; that much would be a let down of the ages, and if that were to be the case, he would have been better off taming his own fists to battle, rather than relying on the tools made popular by his ancestors. While he, like all other humans encompassing the globe, has his own preferences, it does not make him any less accomplished to use a single blade, rather than experiment with all other sorts.
 * Kanari Shigo: Kiri (可也私語•切り; Literally meaning "Final Whisper: Closing Sentence"): A technique that combines the sheer fundamentals of swordplay with a masterful degree of execution, it is one of the single most fastest techniques within the entirety of Izari's arsenal. The true power lies within the fact that it is essentially unpredictable, as Izari is incredibly adept at not only its usage, but also when it is used; more often than not set up by creating some sort of subtle interruption from battle, along the lines of verbal communication, Izari then reaches for his scabbard and within the blink of an eye, strikes his opponent. The execution of this attack is such that most foes do not remember seeing Izari's hand falling towards his Zanpakutō, while others cannot even begin to comprehend the fact that his person alone had made any movements at all. The attack power of this technique can be greatly magnified by actually releasing the sword from its sheath, however, because Izari is able to cut his opponents with just the scabbard, it is not usually necessary. This technique also generally serves as Izari's very first move in battle, despite its name; this is done to test the strength of his opponent, or to bring about an end to the verbal conflicts that usually follow beforehand. Even without drawing his Zanpakutō from its sheath, Izari has been seen able to slash through the defenses of an Arrancar's Hierro, and by extension, a Quincy's Blut Vene, though this more or less depends on his opponent's defensive capabilities.

Kendō (剣道, Way of the Sword): A style of heavy swordsmanship that employs the usage of both arms, Izari familiarized himself with Kendō under Raian, the creator of the entire concept. It combines elements of martial arts as well, proving to be quite physically exhausting for anyone who has not been able to master it. In a contest of swordsmanship, the primary focal point centered about the wake of victory lies within the internal concept of balance; for without a stable foundation, the entire construction is said to be eligible for an untimely demise. Izari has revealed himself adept in not only orchestrating the fundamentals of swordplay, but moreover, the ability to adjust in the midst of battle. Every ounce of his being is essentially an extension of his own blade, or in a more detailed context, it is quite literally a suited weapon all on its own accord. This most nearly translates to the sheer control Izari has over these inanimate weapons of mass destruction. There is no place on his body where he cannot hold a sword; this was meant to keep him within the heat of competition even had he somehow lost control of his arms, for whatever reason. In between the folds of his arms and thighs; in his mouth; with his toes; and even by balancing the sword on the tip of his tongue, Izari is able to utilize his swords, which allows him much versatility, and leaving him an open arm or two to initiate forceful attacks against his opponent.
 *  (両断, Bisection): For millennia, it was foretold that when the Zanpakutō is handled with both hands, its true capabilities are unleashed —this technique is the confirmation to the everlasting prophesy. Gripping the hilt of his blade between his fingers and then raising it over his head, Izari swings his sword with incredible force, producing a vibrant slash that is unrivaled in terms of cutting power, possessing the capability to level anything that so foolishly elects to challenge it. This however, is only an application of the concept; the concept itself, on the other hand, augments Izari's swordplay to an entirely separate level when in effect, if not multiplying his output of skill several times over. While it can be argued that this would leave him without a hand to use to defend himself, the sheer speed that is now apparent within his movements instead compromises for this loss, allowing him to take on various stances in brief alterations of time. This does, as previously mentioned, leave him without an off-hand; meaning, Kidō is left negligible for the most part. Izari will only operate such a style of combat only when choosing to focus solely on his swordsmanship to win a battle.

Zanpakutō
Kōtei no Yajū (皇帝野獣, King of Beasts): Kōtei no Yajū is the name of Izari's Zanpakutō. Overall, it takes the form of a traditional nodachi —the most common type of Japanese katana. Its hilt is wrapped in a white obi sash turned red, initially belonging to Izari's father, which had been worn around his waist alongside the rest of his Shinigami attire until his death at the hands of his own son. It is a tradition of the Kenshiko tribe to honor the death of the last family head by preserving their sash in such a manner, which serves the dual function of also granting the victor of the duel command over the entire clan. There is also a rhombus like pattern spanning the rest of the hilt, leading up to a pommel made of pure gold. The hand guard —also referred to as the tsuba— takes the form of a flat plate just above the hilt, which has its two faces covered in intricate decorations, and possesses a mildly rounded, elongated shape with four points curving inwards, meant to represent a four-leaf clover. The sheath of the sword is blue in color with various spirals running down its length.

Despite the prefix to its name, the spirit of the sword is actually female, making Izari one of the few male Shinigami to possess a Zanpakutō of the opposite gender. According to Izari, Kōtei no Yajū is quite moody, requiring much of his attention during the day, while also refusing to release her true power against opponents whom she herself does not deem worthy. She appears to him as a mature woman adorned within a ceremonial kimono, with long blue hair and pale white skin. She also sleeps for extended periods of time, often requiring Izari to fight in battles without the use of his Shikai until after she awakens.
 * : As with all other Zanpakutō, Kōtei no Yajū requires a command in order for Izari to gain access to its Shikai; the sword is released through the prayer, "Bask in Eternal Glory" (緩和中限りない精華, kana naka kagirinai seika), whereby it reveals itself in being a Kidō-Type Zanpakutō. During the incantation, Izari will generally raise Kōtei no Yajū above his head to signify its ascent into the heavens. Thereafter, the blade is consumed by a bright flash, before revealing Izari's transformed Zanpakutō. In its Shikai state, the katana evolves and lengthens considerably, resembling a long-sword. The blade is overtaken by a much darker persona; running the length of the sword, it is split between what appears to be two variations of metal, with a makeshift handle nestled into the blade itself protruding from one side. Furthermore, beside the now spherical cross-guard is a portion of the sword that extends outward in the shape of a rectangle. The hilt of the blade remains the same for the most part, growing slightly darker in coloration. The sword curves in various directions on its way to the peak of the blade, where it is met by one final additional curl. Izari likens Kōtei no Yajū to the talon of a lion while in Shikai. Much to the surprise of many at the time, Izari ventured upon his Shikai even prior to his acceptance into the Shin'ō Academy, approximately an entire century earlier than the average Shinigami.

Shikai Special Ability: Possessing a truly terrifying power, it was for this reason that the Central 46 had grown to fright over Izari's ensuing development, having even contemplated his demise on numerous instances. With his Shikai ability, Izari is able to freely manipulate three-dimensional space to his content, which includes both the generation and depletion of the aforementioned idea. Much like a shooting-guard in basketball would perform a series of dribble moves to effectively create enough space between he and his defender for an efficient chance at shooting the ball, Izari is competent enough to accomplish the very same luxury, albeit instantaneously, and with significantly less effort, doing so without so much as the flicker of his hand. This is more properly looked towards as creating and consuming distance between two different points of a spatial location; were he to be confronted by an enemy charging straight towards him, Izari would simply create more and more space between himself and the incoming opponent, so as to fixate the latter into an endless loop, making himself unreachable. This is true even for projectile-based attacks, as they too would have to cover a distance in order to strike him, meaning they too must venture into Izari's territory. Because of the nature of this ability, Izari has claimed himself to be invincible, with an absolute defense at his fingertips.

Likewise, any preexisting space can also be depleted; this most nearly means that Izari can cover the distance between he and his opponent instantly, allowing him to come within close quarters for a sneak attack of his own in the hope of catching his opponent off-guard, as there is no real way of estimating where he will appear next. This feature is likened to a form of teleportation, though relies on the given amount of space Izari chooses to manipulate. Furthermore, Izari is able to reciprocate gravitational energy either by increasing the spatial pressure of a given space or simply by forging a greater supply of space; much like an invisible wall, it will form generally above his opponent, crushing him or her into the ground with tremendous force within the blink of an eye. This is often times used to constrict opponents, preventing them from moving due to the intensity of the space upon them. It can also be deployed as a shield or barrier of the sorts, by intercepting attacks that were intended for Izari. By encasing himself within this invisible barrier from all sides, as any mime would, Izari is even capable of escaping techniques that would target an entire area by negating himself from the equation.

While the contents of his Shikai appear truly capitulating upon first glance, it should be noted that there are a series of weaknesses that work to level the playing field for Izari's opponent. The first being, however unfortunate, Izari is limited to one frame of work at a time, meaning he is unable to manipulate more than one space at a time; this leaves him without the ability to serve dual functions, and most importantly, without being able to both attack and defend at the same time, which considerably decreases his level of versatility, if not more than halving them altogether. Additionally, there must exist a safety zone at all times —usually placed around himself in close vicinity— so as for Izari not to be harmed by his own power. This is one of the easier ways to escape the spatial influences of his Zanpakutō.


 * : Kaburi Hyakujūnō (被り百獣の王, Crowned Lion King):

Bankai Special Ability: One of the single most powerful Zanpakutō abilities in existence, Izari has been prohibited by the Central 46 to make use of it within close proximity of the Seireitei, for such gruesome power is capable of disrupting the balance that already exists within that domain. Even so, the nature of Izari's Bankai is known only to a select few captains within the entirety of the Gotei 13, though no one has ever been so unfortunate enough as to have seen what it is truly capable of. Izari achieved Bankai in a matter of years, when most others would have taken centuries to accomplish the very same feat, as if it was second nature to him, a testament to his prodigal talent.

For the most part, Kaburi Hyakujūnō is a larger scale version of its Shikai, once more assessing the manipulation of distance and space. However, it does so with greater power and more versatility, blessing him with a number of everlasting feats, such as through the means of distorting space—the literally act of irregulating its structure. This is not limited to materialistic values, such as solids and liquids, but extends further beyond to even gaseous substances, such as the air, the light, and the darkness. When twisting the literal air, Izari weaves it into a series of razor sharp blades that can slash his opponents to bits and pieces, or use that very same concept, only deployed in a slightly different maneuver to make for a different effect, such as the creation of a large gust of wind capable of pushing back anything in its path. When distorting light, Izari can create illusions, encasing his opponents within a reality he manipulates to his liking. Ultimately, by disrupting the flow of the sound waves that travel through his territory, Izari can establish an absolute silent protocol, where he deprives his opponent of even the otherwise most audible of sounds, effectively handicapping them by taking away one of their most coveted senses.

One of the greatest benefits of manipulating space with his Bankai is a factor in which Izari is able to flip and rotate it, turning the ground into the skies and the skies into the ground. This discerns the balance of his opponent while maintaining his own, giving him a clear advantage, and more often than not, a clear opportunity to strike his opponent by catching them off guard. He is even able to quite literally tear open the very same third dimensional space he manipulates, creating a portal to another location, which can be utilized even by others, granting supplementary usage. Perhaps the most astounding ability he has within the arsenal of his Bankai is the power to create an entirely separate universe, which functions in the manner of his very own, personalized pocket dimension.

Trivia

 * All images appearing on this page are drawn by the author, User:DazzlingEmerald.