Bashō Sekigahara

This article, Bashō Sekigahara, is property of Zf6hellion

Overview

Bashō Sekigahara
Race	Soul
Birthday	November 1
Age	2253
Gender	Male
Height	193cm (6'4")
Weight	82kg (181lb.)
Blood Type	AB
Professional Status
Previous Affiliation	Gotei 13, Soul Society
Profession	Shinigami
Previous Position	Captain of the 5th Division
Previous Division	5th Division
Previous Partner	Shū
Base of Operations	5th Division HQ, Seireitei, Soul Society
Personal Status
Mentors	Satō Shingen (Zazen) Tenjirō Kirinji (Kaidō)
Title	"Snake Blaze"
Zanpakutō
Shikai	Shinuka
Bankai	Shinuka Kuranori
First Appearance
Story Debut	Days on End: Beginning
Roleplay Debut	All Around Jingshan

"Loyalty tangled up in sacrifice."

—Character tag.

Bashō Sekigahara (関ケ原 罵祥, Sekigahara Bashō) was the first captain of the Fifth Division, holding the seat upon the founding of the Gotei 13. His lieutenant was Shū. Remembered for his incredible skill in the art of Kidō, he was given the epithet "Snake Blaze" (蛇火炎, Hebi Kaen) when he was buried and summarily cast into Hell.

Appearance

Bashō is a tall man with gaunt features, dark skin and a bald head, lacking hair. The ridges of his brow are elongated, extending a little further than normal, which cast shadows over his eyes under the right conditions. He is affected by complete heterochromia, giving him mismatched eye colours. His left is brown and his right has a faint yellow pigment. His ears are particularly large and somewhat rounded, as well both lobes have holes in them from past piercings. A small horizontal scar rests on his chin. He wears a rather extravagant headdress made out of a red band with a repeating pyramid shaped pattern and a silver crown that mounts the skull of a vulture at its front. The crown is laced with small red-and-white decorations and feeds into a large white mound of fur that itself terminates in an adornment of black feathers. The ends of these feathers are pierced with small bits of gold with red plumes hanging from them. On the bottom of the headdress are a pair of orange painted stones and yellowed thread that hangs by either side of Bashō's head. The headdress marks him as an eagle warrior of the Mexica. The rest of his attire consists of the standard Shinigami Shihakushō, a black kosode worn over a white shitagi, an obi sash that is then worn atop a black hakama and white hakama-himo. He foregoes the footwear in favour of going barefoot, and adorns his ankles with golden cuffs. He also wears a golden band with a single jade inset on his right arm. His Captain's haori comes with a stiffened lapel and collar with a golden chain attached, which he wears as a cloak, draping it over his shoulders. The haori has long sleeves and a steel blue underside.

Personality

Bashō is a very solemn individual, often looking very intense if not at least straight faced. He has trouble expressing his emotions outwardly instead opting to express himself through deeds and actions to get a point across though he has no such trouble reading the emotions of others. He is a hard working and dedicated individual believing that things as trivial as class or caste have no bearing on the work one should be doing as such he is often found in the company of his subordinates doing the more menial tasks of his division while also keeping up with the monumental responsibilities that captains are shouldered. This has afforded Bashō a great amount of respect and loyalty from his men in the Fifth Division as he knows each of his men personally. Those very same traits are some things that Bashō values very highly, believing that loyalty and respect for others is the greatest foundation for trust, something that is sorely needed in an organization such as the Gotei 13. He is a dutiful person, with an underlying philosophy to how he approaches his duties. Such was the case when Frithigern slew Hanashi, whether by accident or not, Bashō believed it was Frithigern's duty to honour her last wishes and take her place.

Bashō loves potatoes in all forms and in a variety of meals, especially potato stew and sweet potato soup. He also quite likes fried rice. He enjoys learning about Mysticism both as a hobby and as a way of inspiration for his Kidō spells, this has led to some misunderstanding with Johnny Law and his Lieutenant, Tōdō Yamato, that Bashō is some kind of insane wizard that'll hex them if they look at him funny, causing him some concern for the way others perceive him. When not studying mysticism, Bashō looks to his work for a modicum of enjoyment or takes to playing ōllamaliztli with his division.

In combat Bashō is extremely cautious, preferring protracted battles for the sake of the time it allows him to study an opponent in order to take the most effective route against them, though if forced he can press the attack just as well. He mainly uses Kidō when fighting, having mastered the art and even developed his own spells, when not using Kidō he aims to utilize Hakuda instead and only uses his Zanpakutō when he has no other options available to him, this is caused by the requirements that his Zanpakutō must have sated in order to be released making him refrain from using it out of distaste.

Equipment

• Ritual Knife & Maguey Coil: Bashō carries an exceptionally well-made ceremonial knife on his person, made up of an obsidian blade and a series of detailed Mesoamerican engravings. This is paired with a rope coil that has been fused with the hardened spines of a maguey plant, and together they are used as Bashō's primary means of inflicting self harm. The coil, wrapped around his right arm and hidden below his Shihakushō is nestled in such a way as to require only the lightest flex of Bashō's muscles before it begins cutting into his skin. The obsidian knife is reserved for more harrowing sacrifices, but is easily sharp enough to cut through the former Captain's body allowing him to sever limbs with ridiculous, if sickening, ease.

Powers & Abilities

Natural Abilities

Unnatural Endurance: Bashō is not particularly known for his durability, indeed, he is particularly hardy at all. He shares the same limits one would expect of a Shinigami, one might say that he bleeds rather easily, even. What he lacks in hardiness, however, he easily makes up for with endurance. Though his craft relies heavily on hurting himself, to the point of mutilation and dismemberment, it is rare that it happens to put a damper in his spirit. This could be seen as both a boon and a curse when observed. His tolerance for pain is incredibly high, such that anything short of outright killing the man will leave any sort of noticeable feedback. He acts like he was made of iron, unflinching in the face of even the most grievous damage, seemingly impervious to trauma of any kind. In reality however, his tolerance towards pain is so high that he is largely numb to it. Putting him through extreme torture is unlikely to make him flinch, though his body will tell a tale of outright horror. He rarely feels pain, and should he not notice a wound, it is unlikely he ever will until its far too late. Great Spiritual Power: A warrior priest and master of ceremony in his Human lifetime, one would expect Bashō to have an affinity for matters regarding spirits, and that would be correct. He has boasted a great deal of spiritual power even whilst still a child. He could see things others could not, and just slightly influence events as they unfolded around him. During his ascendance to Soul society, his Reiryoku was strong enough to allow him to make it through the Dangai unscathed — protecting him from the results of Mayuri Kurotsuchi's experiment, which damaged the flow of time periodically, and wiped out a fair few innocent souls in the process. This power served as the source of his ambition as a spirit. Great enough to allow him to stand among the ranks of the earliest Captains of the Gotei 13, strong enough to allow him to reach deeply into the mysteries of Kidō, and strong enough to endure the trials of time. Two thousand years into his lifespan and he still appears as a man in his prime, speaking well of his spiritual power's strength. It is an energy that is hard to trace for others, it often speaks of conflict boiling beneath the surface, alluding to the trials Bashō struggles to cope with.

Shinigami Powers & Abilities

Kidō Master: Kidō is perhaps the greatest antithesis to everything that Bashō had ever believed in during his life as a Human. The power to conjure fire, summon rain, to bring life and death so freely, these were the powers of the Gods. The results that came when the Gods sacrificed themselves so that the world and everything in it could live. To encroach upon that territory is tantamount to betrayal, the ultimate sin. It is obvious to see, then, why Bashō refers to every action he takes as tlatlacolli ("insult"), for he was never given to the Gods in sacrifice, he was never a vessel for their divine will. Kidō is both an acceptance that his worldview was not the reality, as well as a commitment to atonement. Seeing what his people held as truth to be false, he believes that every one of their sacrifices were made senseless and so he seeks to atone for every single sacrifice, both minor and major, until he repays his people for their service. With such conviction behind him, it should come as no surprise then, that he has put an incredible amount of effort into the study, understanding, and application of this mystical craft. There is not a single spell among the 198-Numbered Spells that he is unable to cast, even maintaining a great deal of power in their usage when abandoning their incantations and names both. To use the name of a spell is to effectively double its power, and to use the incantation is to go even further. He is exceptional in all fronts of Kidō that he devotes himself to, and it is rare to find a spell that he is not well-versed in, though there are some. His particular practice relies heavily on the usage of Hadō and Kaidō, but he is no slouch when it comes to applying Bakudō either. In addition to knowing all of the spells that the Kidō Corps makes available for use by the Gotei 13, Bashō has invented his own spells, often taking inspiration from his culture and personal views, as well as even developing his own method of spell casting. The six Gisei Hadō (犠牲破道, Sacrificial Way of Destruction) are particularly important to him. His methods, to those who don't understand, might seem incredibly brutal and ineffectual, but they serve a purpose to their wielder. In the end, Bashō dedicates himself to Kidō to atone for the millions of lives he believes have been ruined in reverence of the deities. If he should be wrong in this, then he gladly awaits the day when the Eater of Ordure comes to claim him for his sins. Eishōhaki Master: As with any craft, there are umpteen different lessons one must commit to memory as they elevate themselves through its ranks, methods or simple caveats that must be acknowledged and accommodated to the best of a practitioners ability. For Kidō the most common consideration is that of their incantations. Often long and nonsensical, many come to the conclusion that foregoing the incantation would be the greatest idea to ensure a spell is not wasted, and they would be correct, though it comes at a cost. To discard an incantation is to deprive the spell of its origins, that which helps make it a real entity in the spiritual or material world. A typical mark of mastery among the ranks of Kidō's practitioners, is the ability to cast spells without their incantation without also incurring a loss of strength. Bashō is one such master, a feat that he can achieve with any spell below the 90's ranged, and he may keep a considerable amount of power still in those spells that go beyond that point. There is a second step to Eishōhaki as well, that of abandoning the name to achieve the phenomenon known as "Silent Casting". It is not a lesson taught within the halls of Shinō, though Bashō has made it his own nonetheless, as to forego any knowledge of Kidō is to spit upon the millions of lives he seeks to atone for. He has a similar limit with the second form of Eishōhaki, meaning there are at least 180 spells he can cast with complete silence. Chinodaishō (血の代償, Blood Price): Both in life, and in death, Bashō has been a master of ceremony. He carried out many of the sacrificial rites of his people, and this has left an irremovable mark on his psyche that he has brought forward into his spellcraft. Though it could very well be considered a spell of its own, it is treated as more of a framework for him. To create his ritual ground is to become invested in the conflict, to devote his spells to his people. It is conjured with a great massing of Reiryoku but a simple gesture of clapping the hands together. This forms a set of three rings, one large ring in front of him and two smaller ones on either side of him. The rings are always alight with spiritual energy, engraved upon the earth wherever they spawn. These rings serve as receptacles of sorts for Bashō's sacrifices, his own blood, his worldly possessions, even parts of his body. The rings swallow them and use that as fuel for his spells. Each of these rings are surrounded by various symbols that denote their purpose. The right ring is for sacrifices corresponding to that arm, as is the left, but the central ring is for sacrifices of istli (The Sun's heat) and tona (The heart). In the wider world of magical study, this practice is acknowledged as a variant of Dōsahaki (動作破棄, Motion Abandonment), but in reality it is a substitution of resources, using the physical body in place of his Reiryoku and the Reishi of his environment; though he very much can do both. It is categorised as such because it does minimise movement, even if it is not completely removed from the equation, instead all Bashō is left to focus on is the ritual. The spells manifest around him without him having to give them physical input, a boon nonetheless even if one can still predict where they'll stem from. In the end it is all a part of nextlaualli (Debt Payment to the Gods), though Bashō would be hard pressed to refer to his practices as anything less than a tetlazolmictiliztli (Insult to the Gods). Still, by pouring his blood, flesh, and bone into his spells, Bashō hopes to repent for what he believes is a greater sin: falsehood. Master of Hadō: The Way of Destruction is perhaps the most popular school of Kidō and isn't hard to see why, with the 99 Hadō that are approved for use outside of the Kidō Corps alone, one can wreak untold chaos and devastation to their environment, bringing about colossal forces both elemental and abstract in nature. It is the embodiment of an incredibly simple purpose, one that is very easy to portray especially from minds so close to that of a Human. It is Bashō's primary method of engaging in battle, and he has committed the names and incantations of every single spell that has ever been made part of the official lineup. As a creator, he has been blessed with the accomplishment of having both made his own Hadō spells and having them ranked within the official spellbooks of the Kidō Corps. For Bashō using Hadō spells is like clockwork, he casts one spell with meticulous construction, no detail is manifested poorly or without proper care, then the spell is loosed and guided until it reaches its destination. Without delay, nor hesitation, the next one is already in the works and within moments one spell has become the first in a battery of continuous assaults. It is rare that one of these spells taxes him enough to delay the assault in any noticeable way, and if that should happen, then his foes best be wary for the titanic forces he is about to bring forth. Creator of Danganjun: Hadō as a craft is infamous for its incredible specificity, the spells in its arsenal destroy whatever is in front of them, and very rarely accomplish little else of note. This reputation pervades the entire roster devoted to it, such that one would be hard pressed to find a spell with any form of potential outside of direct damage dealing within the ranks of those known as Hadō. During his tenure as a Captain, Bashō sought to remedy this problem and the first step was Danganjun, recognised today as Hadō #23. A large dreamcatcher-like net that fires untold numbers of energy upon the opponent, it is less physically powerful than one would expect from a spell of its number, but it existence was never intended to be wholly offensive in nature. Danganjun is a support spell, meant to saturate an area under heavy fire so that enemies are forced to flee or become suppressed, giving the advantage to the caster's allies who can then freely gain better positions and swiftly end a battle. The bullets fired by Danganjun don't do direct harm, instead they leave behind an incredibly deep stinging sensation which has more psychological effect than it does physical; the opponent can feel pain, but they can't see it. Of course, in the hands of its creator, Bashō knows just which threads to tug upon to turn it into a hailstorm of death. Transforming the bullets into a barrage of pure force if need be. His primary usage for the spell, however, is to trick the strongest of opponents. Those who would not be cowed by something so pathetic and weak. For those who do not avoid Bashō's spells, are bound to learn quickly that he can weave more than one at a time. Creator of Jasō: His second foray into increasing the versatility was through Jasō, which is recognised today as Hadō #60. While much more offensively powerful than Danganjun, it has the benefit of several additional traits to keep it inline with what Bashō sought to bring to the field. As its name implies, the spell is used to conjure a massive Reishi construct in the visage of a serpent, the size and scale of the beast makes it incredibly useful for surrounding an area to be ignited in its blaze. True to its form, one may even use it as a constrictor of sorts, trapping multiple enemies in the snake's grip before consuming them in its explosive light, this is particularly effective against Menos Gillian which find themselves hard pressed to avoid the spell. Bashō has studied it well, of course he has, it was he who gave birth to the spell. He weaves it across battlefields with all the grace of a dancer, keeping the fact that it moves and behaves as a serpent would intact. To hide amidst the trenches of a conflict is to quickly find oneself caught up in powerful jaws of the serpent spear. He can even alter its shape, transforming the singular serpent into a five-headed Hydra-like beast to better ensnare his opponents. Jasō also serves a second purpose as a catalyst for Bashō, often times it is summoned as part of his rituals, either as a partner or as a sacrifice of its own to greatly bolster the other spells he is about to bring to life. Master of Shō: For anyone who can competently shape their own Reiryoku, it is unlikely that they would have any trouble using Shō, after all it is Hadō #1. Every Shinigami meets this spell during their training, as it is best fit to introduce a young Shinigami to the fundamentals behind spellcasting. It also makes for a great practice tool due to its almost non-existent energy costs and the minimal damage it is ordinarily capable of. It is little more than a stiff breeze focused on a point, after all. Fit to do little more than push at something. In the hands of a master, however, the spell quickly becomes a hallmark of versatile interaction. Even in its most basic form, Bashō can direct the spell in such a way as to unbalance his opponents, knocking attacks off course, and otherwise impeding them so that they fall off mark or they are left vulnerable to his own follow up. To improve upon the spell, he might focus on its precise point of impact, greatly increasing the power so that his spell becomes as a bullet, bursting through the flesh and bones of his opponent rather than pushing at them. He can also greatly increase the surface area of the spell, so that, rather than a breeze of pressure on a single point, he creates an entire wall of force fit to buffer against attacks. Maximising both of these traits, Bashō can create a pseudo-ward barring the way of his enemies should they manage to reach him, as they would quickly find a powerful, sudden wind shooting them right back from whence they came. Master of Gisei Hadō: Techniques and spells of incredible power often come with caveats that make them only able to be used in very limited situations. In the realm of Kidō, this is particularly applied an assortment of six spells, that each stand amongst the most powerful spells that the art has to offer. The Gisei Hadō comprise the six highest ranked spells available to practitioners of Hadō and all of them require a sacrifice in order to be properly cast, hence their name. Each of these spells take from a different part of the body, removing an arm, or rending away the flesh of the body, so that if someone were to use them, they could only ever do so once, and in doing so, in most cases die as a result. This makes it exceptionally difficult to hone these powerful spells, because there is no way to reliably practice them. For Bashō, however, this is not the case. Through the use of Doshin'en Kinami, he would be able to cast any single spell a total of thirteen times, and remedy the wounds they cause him in the process, allowing him to continue using them another thirteen times the following day. As one of very few people able to reliably practice and immerse himself in these spells, Bashō would be remiss if he didn't not take advantage. Thus his opponents are left in the unenviable position of knowing that they face a man in battle who has not only the means to cast such incredible spells, but the means to do so ad infinitum. Master of Kaidō: More than anything, Bashō's ability to operate on the battlefield in the capacity that he chooses is dependent on the skills of highly accomplished healers. To fight a battle whilst also sacrificing life and limb would render his battles incredibly short indeed, if he did not come prepared with the necessary means to regain what he loses. Bashō is not adverse to working with others, but he would rather they focus on what they can achieve themselves than wasting their potential on trying to ensure that he can fight efficiently. The only solution, then, is to become wholly proficient in healing himself. Just so, Bashō studied the methods and practices of Kaidō both independently and with the assistance of master healer Tenjirō Kirinji, a man so skilled in the art that he was appointed to the Royal Guard because of it. Kaidō does not follow the traditional system of Hadō and Bakudō which has umpteen spells for any situation. Instead, Kaidō is an all-encompassing craft that focuses solely on the wielder's method. Retsu Unohana practiced her craft through touch, Kirinji practiced it through his healing waters, and fellow Captain of Bashō's era, Yūnagi Koromogae practiced by instilling healing energy into small candies. Bashō performs Kaidō through prayer. He clasps his hand together and recalls the ceremonial rites performed by his people in ages long since past. In doing so, he is able to heal wounds to incredibly profound effect. Wounds close, blood is cleansed, even stamina and Reiryoku can be regenerated and restored. To heal others rather than himself, Bashō need only make them the focus of his prayers then rejoice as their wounds are mended. There are limits, of course, as even Bashō is incapable of mending lost limbs through natural healing methods. Doshin'en Kinami (同心円貴双, Concentric Rings of Quetzalcoatl): When taken under scrutiny, one may come to realise that, despite his professed preference and reliance on Hadō, Bashō's talents perhaps lay more in his usage of Kaidō. For what takes other established healers minutes or even hours to accomplish, Bashō takes only seconds to achieve. Even replenishing someone's Reiryoku, which is seen as time consuming if not particularly difficult, is an incredibly quick endeavour for Bashō. During his time with the Gotei 13, he was seen as only being second to Yūnagi Koromogae, meaning that he was considered a better healer than even Retsu Unohana, though it was never her specialty to begin with. The reality is that the power of his healing is beyond natural, always exceedingly quick, and seemingly requiring little effort on his own part. Really, his method of engaging in battle is more a test of his endurance than his energy reserves. The source of this great healing power was discovered during Bashō's training with master Kirinji. A series of golden rings that would manifest around Bashō's limbs at various points, each of them engraved in writing of an undecipherable language. These rings bestow upon Bashō a power that transcends normal limitation, and can only vaguely be considered a form of Kidō. By using the rings as conduits for his healing, Bashō is given a form of Wound Manipulation, whereby he can dictate how something effects him and where. For example, Jinkai Bukōne, a powerful spell that destroys the user's nervous system in exchange for its casting, can be redirected through the rings to attack only a single part of Bashō's body and may even be changed to burn his flesh, destroy his veins, or tear his muscles apart. It is an incredibly profound power that leaves Bashō rather hard to damage while the rings are still present. There are thirteen rings conjured whenever Doshin'en Kinami is activated, and one of them breaks every time its power is used to alter the effects of an injury. He cannot restore them during battle, instead having to wait until the following day to have them re-manifest on their own. If he so chooses, he can also cast the rings onto his allies, allowing him to alter wounds that they would suffer so as to make them easier to deal with. Master of Bakudō: It is rare for one person to specialise in multiple fields of Kidō. Though one might use many types of spells in equal measure, a specialty is quick to take root and clearly pervades that practitioner's works. Bashō might seem anomalous because he is not a master in a single field, instead he is a master in all three of the primary schools of study. But that is simply the reality of his conviction, to give of himself to repay the debt of many million lost lives. To forsake any part of Kidō in its myriad forms is to disgrace that, and himself. So to compliment his considerable prowess in the arts of offense and healing, Bashō has also accrued a great deal of knowledge and skill in the art of defense. More than just spells that repel attacks, of course, Bashō has devoted no small part of his studies to spells that can support himself and his allies, powerful magics of interconnection and territorial manipulation for example. Just as with his execution of Hadō, Bashō is an expert in creating barriers, tricks and traps just as he comes to need them, making it a superbly difficult affair to actually land a successful hit on him as he weaves through magical barriers as if he was a master of wards. Doshaji Kanaji (土砂道金路, Earth Road, Gold Path): Knowledge of the battlefield is one of the most important preparations one can make before a battle. To know the layout of the land is to know all of its natural advantages; where an enemy is likely to go, and where they would avoid. To forego something so important in battle is to bring defeat to the gates. Though one could simply opt to annihilate the terrain to create a field that is relatively neutral, if unstable, Bashō opted for a more elegant solution. Using Kidō, he forms a bridge between his body and his surrounding environment which in turn grants him incredible control over the local area by manipulating the earth itself, and the networks of Reishi that flows through all things. This way, Bashō can shape the battlefield to his liking, placing the advantage ever in his favour. His only limit is the matter present in his surroundings, stone will remain stone, even if he should change it from a mountain into a fortress, and what he creates cannot exceed what was present. A plank of wood won't suddenly become a sailing galleon out of nowhere. In truth the spell can only vaguely be referred to as such, as it relies far more on the connection between Bashō and the environment than it does the actual Kidō which is relegated to linking the two together. It is a power more reminiscent of the feats accomplished by Pernida Parnkgjas. Kagan'en Kage (鏡煙影, In the Shadows of Tezcatlipoca): Between both of his hands, Bashō summons an orb of black spiritual energy, that he promptly begins crushing between his palms after it reaches a large enough size. As the orb is squeezed it releases a black smoke into the air which saturates a large portion of his surroundings in a light but noticeable mist. From then on, any injuries suffered by those within the mist are subject to a form of randomisation. When struck, the injuries that would normally manifest on someone will instead manifest on someone else at complete random, quickly throwing a battle into chaos as the rules become blurred. The effect is true for all parties involved, meaning even Bashō is placed under its effect, randomising the harm he causes, but in turn, making attacks that weren't aimed for him, even attacks he made himself, likely to cause him harm, and then serve as the source of a new spell from his repertoire of sacrifice. The spell is twofold in its requirements, however. First, only those who see the orb during the spell's activation are placed under its effects, and secondly, this effect only applies as long as they stay within the mist that the spell creates. Those who did not see the orb, or enter the mist after it is summoned will not be targets of the spell's power, but those who have seen the orb, leave the mist, and then return to it will still be under its purview. Kuronumago (黒沼護, Black Bog Guardianship): Within the depths of Bakudō lies the advanced art of Shubidō, a form of spellcraft focused on the construction of powerful wards, a form of defense that far outstrips what the myriad barriers of Bakudō can provide. Expertly woven and intricately crafted defenses that react based on innate properties. The embody the preparation of their casters, who seek to mitigate a threat long before it comes into existence. For Bashō, his ward is the earth itself. Infusing his Reiryoku into a handful of personally cultivated seeds, he casts them off unto any patch of dirt soft enough for them to burrow into where the seeds quickly blossom into a form of living protection. The ground softens and becomes mud, liquid earth that rises to protect Bashō by swallowing the attacks of others. It is primed to defend against the element of fire, though it also helps mitigate attacks reliant on electricity or water, and melee combat. Reacting to changes in temperature and signs of rapid motion, the earth rises to impede any attack made against Bashō, swallowing and snuffing out flames, and greatly hampering the pace of those who rely on melee combat, as one will be quick to find that sloughing through muck is rarely easy when it continues to pile up constantly. Spells and abilities that utilise water often focus solely on forms of water that are pure, and as such, find much of their strength lost as they mix with the mud that they try to pass through. A similar trait applies to lightning which finds itself naturally drawn to the earth, assuming it was conjured from the sky, of course. The ward finds itself best at play whilst Bashō himself is grounded, for it does have to naturally rise to protect him. As such, the closer he is to the earth, the faster the earth can reach out and give him its protection. The ward's strength is also dependent on the amount of earth it has to work with, should he cast the spell in the middle of a small patch of dirt in the middle of the city, then it will be relatively useless, but an open plain would render the ward almost limitless as far as resources are concerned. Shunpo Expert: The ability to move about the air as one would the ground is an ability attributed solely to the greatest of the divine in the cultures of Mesoamerica. Quetzalcoatl, the divine serpent, the God of the Wind, was one such example. With the body of a winged serpent, he could slither across the earth just as easily as he could swim through the sky. To transgress on this territory is yet another of Bashō's countless blasphemes against his people, and so it is only fitting that he does his best with it. He moves through the air with a swift deftness, that allows him to keep up with just about any opponent, he is of course reliant on Shunpo to strain the limits of his speed, though. It is clearly not his forte, though he would be loathe to admit to his deficiencies in the art unless in confidence to a master from which he could better himself.

Zanpakutō

Zanpakutō Bashō with his Zanpakutō. Shinuka (浸食, The Eroded One) is the name of Bashō's Zanpakutō. Its sealed form is highly unconventional for a Zanpakutō, taking the form of a macuahuitl with a fairly ornate design. Made out of wood, the blade looks to be little more than a simple plank. There are a set of small cords wrapped around the blade at two separate points, they are tied in such a manner as to create an hourglass shape and are adorned with small white feathers and blue beads on the end, two of which are placed on the uppermost set and one of the lower. In between them sits a set of six stones inset into the blade, each marked with a green cross. A further six of these stones rest on the top of the blade, just beyond the higher set of cords. The sides of the blade are carved inward and shards of obsidian are inset into these sides in order to give the blade a disguised cutting edge. It has no guard of any sort, and the blade feeds right into the handle, which is a simple cylindrical grip with a swirling blue-line pattern descending across it. The pommel is a coin-shaped disc. It is a Living-type Zanpakutō. Shikai: Bashō greatly dislikes his Zanpakutō, in fact he attempts to forego using it entirely and prefers to keep it on him only as a symbol of his station. Forcing him to use his Zanpakutō and to release it are tantamount to pushing him to the brink of his capabilities forcing him to cast aside his morals and feelings in order to eke out a victory. It is no wonder then that the release command for Shinuka is "Regret" (後悔, kōkai). Bashō throws his weapon upward into a spin, catching it as it comes back down. This simple feat causes the materials of his sword to invert, the primary body of the blade becoming obsidian while its edges are now made of wood, however, instead of being inset into the blade, the wood covers it essentially blunting the weapon entirely. Xiuchoatl refers to this form as the Key (鍵, kagi), it is an ancillary part of his Shikai but not the true body. That comes in the form of a gargantuan box that is five metres tall and equally as wide. The box manifests as an immensely powerful wind that encircles Bashō, ripping apart anything near him which is necessary as the matter of whatever is destroyed is used to create the box. This part of the activation may be foregone, but in doing so Shinuka is robbed of its abilities as a Kidō-Type Zanpakutō, rendering into little more than a blunt club. This fact, the need for the death of others to truly activate Bashō's Zanpakutō is why he detests it so. The box, once manifested, is covered in various patterns evocative of Mesoamerican designs, it is also visibly sectioned into numerous parts, with each face carrying eleven sections to it. Bashō refers to this part as the Chamber (室, muro). Shikai Special Ability: The death of other beings to be absorbed as matter in order to form the Chamber is an important part of not only manifesting the full form of Shinuka's released state but also a crucial necessity of its abilities, known as Kokushi'oi (黒死儀, Black Death Rite). Though the beings caught in the release of Shinuka are broken down and reconfigured into a new material entirely, their soul is maintained and used as a catalyst to activate the each of the rituals of the Kokushi'oi. These rituals are used to summon a select number of monstrous creatures to fight on Bashō's behalf, but in order to do so a foundation must be set, a base for which information can be obtained and then adjusted to suit the ritual's purpose. After creating the Chamber, Bashō may insert the Key into any of its sections allowing him to turn that section and thus the whole Chamber is reconfigured so that its faces create a specific image with the patterns painted across them. There are a great number of combinations that can be achieved this way and each one is unique to summoning a specific creature to Bashō's side. Once the Chamber has reconfigured, if the correct materials are present then the Chamber is engulfed by a brief blinding light and then opens itself up to reveal the newly summoned being. It closes shortly after, in preparation for its next usage. Though the activation of Shikai is where Shinuka typically gains its necessary materials, it can also obtain them while active, in an act akin to "feeding" the gargantuan construct with the body, dead or alive, of a potential victim. Kuro Senshu (黒戦主エク・チュアジ, Black War ChiefEku Chuaji): An incredibly tall humanoid, only a little shorter than the Chamber which he is spawned from. He has the visage of an elderly man, with gray hair and only a single tooth remaining in his mouth, his lower lip is abnormally large whilst his entire mouth is encapsulated by a red-brown border, he also bears two curved lines beneath his right eye. From head-to-toe his skin is a littered pattern of black and white and he dons a loose robe not too dissimilar from the Shihakushō worn by Shinigami. He carries a large sack filled with various items that create an unusual outline from within the bag, it is tied to him by the use of a tumpline which is tied around his head. The sacrifice needed to summon Kuro Senshu is that of a Shinigami, which is why he appears to be something of a facsimile of them. To further align with this idea, his primary weapon is a spear, with a blade shaped like that of a katana. The spear is capable of shifting as Kuro Senshu wills in order to take the form of a scorpion's tail that he may wield as a whip. Its stinger is intact and remains filled with venom, a powerful paralytic that can shut down the body of whomever it infects in a matter of minutes. Its powerful enough to affect even those of captain-level without special training to overcome it. Kuro Senshu is the perfect first summon as his abilities serve as a launch pad for the summoning of others. Ichi Hoezaru (一ホエザルフン・バッツ, One Howler MonkeyFun Battsu) & Ichi Kibori (一木彫りフン・アハン, One WoodcarverFun Ahan): Twin brothers of near identical visage and capabilities, they take the form of monkeys, a little shorter than the average Human and are adorned in various pieces of ritual dress expected of the ancient Maya. Gold jewelry and feathers wrapped around their hands, ankles and necks with a belt tied around either of their waists. They each adorn a golden headdress that is lined with feathers, Hoezaru has his painted red while Kibori's are black. There are two means to summon the twins, the first is the sacrifice of an animal that is not Human, though the pair are always monkeys themselves, any animal can be sacrificed to bring about their manifestation. The second option is to sacrifice a man (Or woman) overcome with jealousy towards another. Both of them are incredibly quick and agile as befitting their forms and both are possessed of a vicious cunning, the pair of them are capable of controlling the wind, using it to augment their blows or create terrifying shrieks. They are also proficient wielders of magic though they wield it differently. Hoezaru is a master of Kidō and is capable of utilizing any of the spells that Bashō himself knows, Kibori is a wielder of Earth Magic, one of the five basic types of Kadō with which he shows a great deal of skill in. Additionally they are both known to be capable of utilizing art and music as instruments for their magical prowess in such forms as ritual writing or song-based illusions among other things. Ichi Hoezaru fights wielding a simple club while Kibori carries a Pitz ball, he is said to be extraordinarily bad at the game, which results in unnatural feats being accomplished by each use of the ball seemingly at random. Himo Josei (紐女性イシュタム, Rope WomanIshutamu): The desiccated corpse of a woman, with shoulder length hair and black markings on her cheeks. She adorns very little in the way of clothing, her entire chest being visibly pair while her legs are covered by a simple skirt that is open on either side. Her forearms are covered by decorative braces made out of jade while her ankles are wrapped in feathered accessories. She also wears a noose tied around her neck, the end of which has been cut. The sacrifice needed for her summoning is perhaps the hardest to obtain, requiring the life of someone who is willing to die. The will to survive is one of the strongest attributes of the living and so finding someone accepting of their fate is a rarity. It is for this reason that Himo Josei is the most respected of those that Bashō can summon. She carries a jewel encrusted spear with a very sharp edge that can easily pierce through an entire body. The jewels littered across the spear are all capable of turning into sharp spikes akin to a barbed-spear, the intent behind this is to pierce a victim and then skewer them from the inside out before brutally ripping their body apart by removing the weapon. Himo Josei also has the capability of manifesting coils of rope from the void in order to leash and trap her victims. Her preferred method of ending a fight is to trap the neck of a victim and strangle them to death in what she calls "assisted suicide". Bankai: Shinuka Kuranori (浸食黒穴式, The Eroded One's Black Pit Ceremony): Bashō raises his hand as the earth begins to tremble beneath him, gravity appears to shift and raise into the air before a massive hurricane engulfs the environment around him. When it disperses, Bashō's Bankai manifests in its place. It is a massive Maya stepped pyramid, made up of nine ascending layers, each one smaller in width than the previous one. Each of these layers are covered in ritualistic and ceremonial carvings that give the pyramid a rather grim look, especially as they depict a number of sacrifices and acts of violence in the name of Godly figures. There are four staircases, each running down the entire length of the pyramid at the middle of any of its four sides. On the summit of the pyramid sits a rectangular temple with open doorways on all of its sides, and square holes akin to windows on the two longer sides. The temple is relatively bare, maintaining a single altar in the heart of it. The altar is made up of three sections, each of which bear a hole that is capable of accepting the Key, Shinuka's Shikai form which remains even whilst in Bankai. The pyramid in its entirety is a total of 230ft tall and maintains a volume of 2,800,000m3, a testament to the sheer scale of the structure. Bankai Special Ability: Though its Shikai form has numerous forms it can shift to and a great many beings available for summoning, Shinuka Kuranori is relegated to only three. The trade off is within its certainty of the three beings that exist within. They are clear and known and as a result have several fathoms more power than those conjured into being by the Shikai. The means of summoning creatures in Shikai is maintained by the Bankai with one key difference, all materials that have ever been absorbed by Shinuka are kept and maintained by the Bankai. They are never truly used up, instead remaining preserved within its confines eternally. The pyramid itself does not shift when a creature is to be summoned, the depictions that align with each figure are already set. Inserting the Key into one of the altar slots causes the corresponding section to depreciate, sinking into the floor. The imagery that depicts the creature in question will then glow and the being will be brought to life. The three beings each have a specified role to the pyramid, as either the Foundation (基礎, Kiso), Guardian (守り, Mori) or, Lord (主人, Shujin). Omonoshi (死の主アフ・パチ, Lord of DeathAfu Pach): A being of indeterminate gender as it may manifest as either male or female at any time, even appearing to be more than one individual. Its body is lithe and emaciated looking, with dark gray skin. All of its incarnations wear very little, donning only rope cuffs around the ankles and wrists in addition to a loincloth to cover their modesty as well as animal leather bindings wrapped around their breast, regardless of gender. Though the bodies of Omonoshi all vary to some extent in height, mass, and even physical structure, they all share the same skinless exposed skull. Atop the skull is a line of feathers, at first appearing to be a colourful headdress, but upon closer inspection are revealed to be embedded into the skull's top directly. Omonoshi fights using a staff which is central to the use of its abilities which revolve around death and regeneration. It is a putrid being, that commands the underworld. Its many bodies serve a central role in this, as it may split itself into seven individuals in total, while each of them are strong, they are a fraction of Omonoshi's total power (1/7th each). The main advantage is the versatility granted in having multiple combatants each able to use their own abilities to overwhelm the enemy. As the lord of death, Omonoshi can summon an army of living corpses using the souls of those stored by Shinuka Kuranori, each of them retaining the abilities and skills they had while living though with some degradation to account for their decayed states. It has a variety of other techniques at its disposal from shapeshifting into animal forms or displaying a great control of spiritual energy in various energy attacks. It can also rip open its own chest to spew forth a swarm of hornets to attack a target. Omonoshi is incredibly durable despite its appearance and is utterly immune to the recommended means of dispatching a spiritual being as it continues to operate even if its head is decapitated. This is further bolstered by its regenerative abilities that have shown to heal almost any wound on itself or others. Bashō typically employs Omonoshi if he has decided to use the six forbidden Hadō, employing its regenerative powers to survive the losses incurred by those mighty spells. Omonoshi is the left slot of Shinuka Kuranori's altar and represents the Foundation, the lowest level of the pyramid. Hanehebi (羽蛇ククルカン, Feathered SerpentKukurukan): Millions upon millions of corpses, an astronomical gathering of the dead all combined into one grotesque form. That of a serpent. A creature of undiluted immensity, its body stretches out to be thousands of feed long and is more than capable of blotting out even the Sun with the full extent of its enormous wing span. It is a decrepit being, made up entirely of the dead with few distinguishing features of its own aside from its great feathered wings and the necklace that wraps tightly around its neck. From there hangs a brilliant blue gemstone which is said to contain the breath of the world, the source of all air. Bashō states that Hanehebi is a being that embodies duality, with its wings it can soar into the skies, a realm meant only for the divine whilst its serpentine body allows it to slither across the earth the realm of Humans and beasts. Likewise its powers, a tremendous control over the air may breath life into all things whilst simultaneously causing untold destruction in mighty hurricanes and tornadoes. It may spray a powerful wind with its own breath or conjure them around itself metaphysically, all of its motions can be twisted to fit its domination of the skies cementing Hanehebi as a living force of nature. Its sheer strength is incredible and comparatively ethereal to anything else contained within Shinuka Kuranori's pyramid. Bashō believes that Hanehebi is a twisted facsimile of a Dragon, though his Bankai has never been subject to the sacrifice of such a magnificent creature. He believes that it is the result of some being, or many, that wished to become like such a being. A foolhardy wish that many young Shinigami can be seen to seek: unparalleled strength. Hanehebi is a cruel imagining of that ideal given its form but it is itself not a monstrosity with its pliable nature. It is the right slot of Shinuka Kuranori's altar and represents the Guardian occupying the center of the temple of which totals five levels of its superstructure. Hashārashi (覇者嵐チャーク, Supreme Ruler of the StormsChāku): Omonoshi represents death and the afterlife, whilst Hanehebi is an avatar of life and divinity. Hashārashi is a representation of the Human element, appearing as either a man or a woman, they represent a perfect specimen of either gender. A powerful body of rippling muscles, strong abs and pecs, and though its female incarnation comes with ample bosom she is no less muscular as a result. Deeply tanned skin that is adorned with numerous ritualistic tattoos. This powerful figure dons little in clothing apart from a robe to cover their legs, covered in decorations of jade and gold with two slits on either side enabling the freedom of movement. A series of necklaces, each more elaborate in design than the last loop around the being's neck to cover a significant portion of their chest whilst a simple set of bindings cover the breast. Hashārashi's face is covered by a ceremonial mask patterned after a grinning face where the eyes burn with a purple fire, the mask also doubles as a headdress obscuring the top of their head but a back view reveals a long tail of black hair ties neatly into a single length. Hashārashi wields a massive axe made out of jade that is taller than itself and with it can rend the very skies to amass powers over thunder and lightning. A booming cascade of terrifying light and roaring sound is controlled freely by the being. As Hashārashi is not a Shinigami, it is not limited to only one form of element and may just as well attack using the winds or the rain. A poisonous downpour held up by an impeding gale among other combinations make Hashārashi a frightening foe. It is the strongest of the three beings, the lord and the heart. Its power is only matches by its strength and durability, more than capable of fighting an entire battle alone without its master's aid. It does not stop until its target has been eliminated, and may continue on even should Shinuka Kuranori be sealed or Bashō killed until it achieves its goal. It is bound to the temple, but it is a feeble chain that cannot hold its own Lord, they who are depicted on the remaining four levels of its form.

Trivia

• Before changes in the scope of the Bleach setting, Bashō was named Xiuhcoatl. The name is literally translated as "turquoise serpent", as well as carrying the descriptive and symbolical meaning of "fire serpent". It can also be interpreted as "weapon of destruction". It is the name given to a fire snake in Aztec mythology as well as a sword that is shaped like a snake.
• The colour associated with Bashō is Steel Blue, a shade of blue which, in Japanese colour culture, represents life, coldness, rationality, loyalty, and, money.
• The image(s) used on this page were done on commission by ev1ct on DeviantArt for Zf6hellion.

Appearances

• Bleach: Days on End
  • Days on End: Beginning

References

"We hypothesize that the members who went along with the spiritual detection squad died before they were able to send data..." This article has been marked as a stub and is awaiting expansion by its original author.

Titles

Preceded by Title Created	Captain of the Fifth Division 1002 A.D. - ?	Succeeded by Danjirō Obana (Eventual)