SHINSEI SEINARU MONASTERY APPLICATION
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Out-Of-Character (OOC) Section
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IN-GAME NAME (IGN):
Bandit76
DISCORD NAME & TAG:
bandit76
WHAT IS YOUR TIMEZONE?:
BST/GMT
DO YOU HAVE A MICROPHONE?:
Yes, although I prefer not to use it and if I do there is likely to be background noise
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DESCRIBE YOUR ACTIVITY ON THE SERVER:
Currently as of writing this it is summer break play usually from 9am-9pm and then sometimes up till 3am though and sometimes I dont et out of bed until 11:30. When school starts back up I am able to get to my laptop between 4pm-9pm Monday-Friday though I will be most likely be doing homework whenever I am not needed. On weekends I can get on around 7am-10am and can be on till 9pm.
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WHAT POSITION ARE YOU APPLYING FOR?:
Maiden
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WHAT KNOWLEDGE DO YOU CURRENTLY HAVE OF SHINTOISM AND ARE YOU PREPARED/WILLING TO LEARN MORE ABOUT THE RELIGION?:
My understanding of Shintoism is presently rather restricted. I have engaged in only a small amount of research regarding this religion in the past, mainly to create the background of a character I was developing. Nevertheless, I acknowledge that Shintoism represents a profound and intricate spiritual tradition with significant cultural importance in Japan. I am fully ready and eager to expand my knowledge of this intriguing religion to enhance my comprehension and appreciation of it.
————————————————————٠Shrines٠————————————————————
Shrines, also known as "jinja," play a pivotal role in the practice of Shinto. They are revered spaces where kami, or spirits, are honoured and worshipped. It is noteworthy that these shrines are dispersed across Japan, varying from modest roadside edifices to grand, intricate complexes. Typically, shrines incorporate significant architectural features such as the honden (main hall) and the haiden (worship hall), which are venues for rituals and offerings. I recognize that visiting these shrines is a vital aspect of Shinto practice, especially during festivals and significant life events. I am keen to deepen my understanding of the various types of shrines, their historical backgrounds, and the specific rituals conducted at each site, along with the symbolic significance of their architecture and locations.
————————————————————٠Torii Gates٠————————————————————
Torii gates are another big part of Shintoism. These gates mark the entrance to a sacred space, often shrines, signifying the boundary between the mortal world and the spiritual realm. Typically made of wood or stone, torii gates are often painted in vibrant red, although they can also be found in other colours or materials. I understand that passing through a torii gate is a symbolic act of purification, preparing the visitor to enter the sacred area of the shrine. The number of torii gates at a shrine can vary, with some sites, like the famous Fushimi Inari Taisha in Kyoto, featuring thousands of these gates. I am interested in learning more about the historical origins of torii gates, the various styles and their significance, and how they are maintained and revered within Shinto practice.
————————————————————٠Kami٠————————————————————
The concept of kami holds a key position in Shintoism. These spirits or deities are believed to inhabit various elements of the natural world, including mountains, rivers, trees, and animals. Additionally, kami may encompass ancestral spirits as well as those of significant historical figures. It is noteworthy that Shinto lacks a rigid doctrine or sacred texts, leading to a diverse interpretation of kami. They can range from benevolent entities that safeguard and bless communities to more enigmatic spirits that necessitate careful attention and respect. The interaction between humans and kami is characterized by mutual respect and gratitude, expressed through rituals, offerings, and festivals. I am keen to explore the various types of kami, their significance within Shinto beliefs, and the ways in which they are venerated in both communal ceremonies and personal practices. Kami also have a variety of power levels not all able to take a physical form.
Through the enhancement of my knowledge in these domains, I aspire to achieve a more profound comprehension of Shintoism, including its practices and cultural importance. This endeavor will not only contribute to my personal growth but also expand my appreciation for this ancient and vibrant tradition.
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WHAT MAKES YOU STAND OUT FOR THIS ROLE OVER OTHER APPLICANTS?
I believe I am a great candidate for this position because of my deep interest in Shintoism and my massive desire to learn more about the religion. My fascination with Shintoism comes from my belief in gods and my curiosity about different religions and mythologies. I’m really excited to explore Shintoism's history, practices, and cultural significance, and I’m fully committed to doing whatever it takes to learn more. One thing that sets me apart is my willingness to put in a lot of time and effort into this. I am ready to spend as much of my free time as possible studying Shintoism. I plan to do this through reading, research, and using any resources available to me. Japanese history has always been a big interest of mine, and I would love to dive deeper into it by learning more about Shintoism. I am especially excited about the idea of sharing this passion with others through SRP. I have done some research on Shintoism before because it is something I really enjoy, but I only know the basics of the religion. Even though my memory is not the best, I hope that being a shrine maiden in the game will help me learn and remember more about Shintoism. Overall, I am very motivated to expand my knowledge and improve my skills through this opportunity. I should also mention that I do not usually do detailRP because I am a slow typer and have trouble thinking of things on the spot. However, I am eager to learn how to detailRP by playing the role of a shrine maiden.
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DO YOU ACKNOWLEDGE YOU WILL HAVE TO ATTEND MANDATORY TRAININGS TO BE TAUGHT MORE ABOUT SHINTOISM AND THE ACCORDING PROCEDURES?:
I understand this and am willing to attend any within my time I can be online.
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In-Character (IC) Section
SECTION 1: Character Details
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CHARACTERS FULL NAME:
Kaminalara Zashiratlina Hotangostalna Yuhi Mocalásku (Forename:2 middle names:2 surnames)
CHARACTERS TITLE (E.g. Mr. Mrs. Miss):
Miss
CHARACTERS AGE (E.g. 21-80):
21
"I know I look young but I'm 21... not 12."
CHARACTERS MARITAL STATUS:
Single
"Always have been..."
(working on things in game rn so may change)
CHARACTERS NATIONALITY:
Japanese and Slovakian
CHARACTERS PHONE-NUMBER:
(+81)(030)-371-2717
"Feel free to call me if I'm needed for anything."
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WHAT IS YOUR MOTIVATION FOR APPLYING TO WORK AT THE MONASTERY?:
"My motivation for applying to work at the monastery? It comes from my connection to Shintoism. I’ve always been a Shintoist, and this belief has been a central part of my life since I was just a little child. Recently, I decided that I wanted to take my faith further by learning more about the practices and traditions of Shintoism, beyond what I have already learned. Working at the monastery feels like the perfect way to deepen my understanding and fully immerse myself in my spiritual journey. I also have prior martial arts experience, and I’m eager to find a meaningful way to put that knowledge to use... I mean the only other ways I could think of would be being a criminal which isn't really my thing or being part of KPD... so I decided on the shrine. I believe that working at the monastery will not only allow me to explore my spiritual path but also give me the opportunity to apply my martial arts skills in a way that aligns with my beliefs. I hope becoming a maiden will also allow me to practice my martial arts further as I have had no teacher for the last 3 years most of my martial arts have... made slow progress... This combination of spiritual growth and the practical application of my skills is what motivates me to be a part of the monastery."
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TELL ME WHAT HISTORY AND INFORMATION YOU KNOW ABOUT THE SHINSEI SEINARU MONASTERY:
"Right the history. I asked about this awhile ago... when I was... 18 I believe then I did some research for dates based on the info I was given. I came down to the shrine and asked some priests abut the shrines history... Nibbu and Sho I think their names where. If I'm correct the shrine was first built in... 762 where construction started 18 years prior. It was originally a Buddhists temple called Akatera I believe made to be away from human civilisation in the mountains. The Akatera Monastery was burned down in 1176 I believe... I believe it was burned down by the Taira family and their allies... due to a feud with another family I believe. It was rebuilt in... 1228 as the Kisune shrine which was also a Buddhist shrine which was later burned down... I'm not sure of the reason or time the Kisune shrine was burned down sadly. The current version of the Monastery was built in 1617. It was again burnt down in 1622 but since its still here I assume it survived the fire. I had heard it had been burnt another time but I didn't get any details on it from the priests so I did my own research on it. I believe it was more recently in 2004 where a Head Priest tried to burn it down... though on that one I'm not too sure."
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WRITE A LETTER TO THE MONASTERY LEAD:
[!]In a envelope there would be 3 pieces of paper with a carefully handwritten message in large Japanese letters inside with the order numbered in the top right.[!]
1
Dear Monastery Lead:
I am Kaminalara Zashiratlina Hotangostalna M-Yuhi I am writing to you because I have become interested in becoming a maiden in the Shinsei Seinaru Monastery. I have been a Shintoist since I was a child and the religion has always had a place in my heart.
2
I used to regularly visit a shrine in Kyoto but I have never taken my belief much further. Though I hope that through becoming a maiden at your monastery I will be able to learn more about the religion and deepen my connection with it. I would also like to be able to put my martial arts knowledge to use and I believe as a shrine maiden I can help people with what I have learned.
3
I would like to further improve upon the martial arts I have already learned and feel this would be a great place to learn with the other Shrine workers to be able to Improve upon my abilities. I hope you will consider letting me join the shrine as a maiden.
[!]In the bottom left would be a signature written in Slovak and in Japanese Kanji from Kaminalara Yuhi[!]
(Last name is wrong for the signature picture due to a family rebrand)
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BACKSTORY (100+ Words):
(Ic answer)
"My past? Well, I was born back in Kyoto. My mother is Japanese but my father is Slovakian. As long as I can remember I have been learning martial arts, my dad was an instructor for it and taught me. It deffenitly wasn't easy to be doing martial arts at such a young age but I learned just the basics... kinda? It became a monthly thing for me to visit the Fushimi Inari-Taisha Shrine, I visited with my parents and me being a kid always prayed for a good harvest just so I could eat lots of food. I used to spend so much of my free time practicing martial arts... I'm surprised I was still doing... ok-ish in school. I learned to enjoy a good bit of art and even designed some masks with my mother. My designs weren't e best... I mean what can you expect out of a child? Over all this time my parents here teaching me both Slovak and Japanese at the same time and I was even also Czech my own. Though despite studying still most of my time was spent on martial arts, I even started to get interested in the performance side of martial arts and I even made some performances for the weapons I had learned martial arts for. Sadly my parents passed when I was 18 and I decided to move away. I came to Karakura and not long after being there I was taken into a family, the family I'm still in today. I don't think my family matters aren't that important but basically I got taken into the Yuhi family and when I turned 19 I started a new family while staying in my old one... though I'm not as close to them anymore. In Karakura I wanted to continue to practice my martial arts skills but I didn't really have anyone to show me new forms or correct my current ones so progress became slow, because of this I decided to make my own style... I wouldn't say its up there with all these martial arts developed over year but I took parts from what I knew and it's not... terrible? Over the past 3 years I've been experimenting around with it making stances and moves for those stances... it still has a lot of work to go to become perfect but I hope here in the shrine I will be able to develop it. I currently only have two stances Shinrai no kamae and Kaze no kamae... right and I called the martial arts style Ryōga-Ryū though it's still a massive work in progress."
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SECTION 2: Self-Knowledge Details
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"Had to look up what most of these where... I still got a lot to learn I guess."
What duties do Shinto Priests and Maidens have?:
Their duties encompass a wide range of spiritual, ceremonial, and administrative tasks. Shinto Priests have duties such as Conducting Rituals and Ceremonies like performing daily and seasonal offerings to the kami to maintain their favour and ensure the kami's blessings. Priests may also lead major Shinto festivals and/or ceremonies such as weddings, funerals and purification rites. Priests also maintain the shrine by overseeing the upkeep of the shrine's physical space, including cleaning and performing purification rituals to ensure it remains spiritually pure. They also handle and care for sacred objects and symbols used in rituals. Priests can also offer Spiritual Guidance such as counselling, exorcisms or purifications. The priests may also have educational Roles like educating the community about Shinto practices. Shinto Maidens duties may include Assisting in Rituals in both preparation and participation by setting up offering or cleaning the sacred space and assisting priests in performing rituals often including traditional dances. Their duties may also include engaging in traditional practices such as omikuji (fortune-telling) and they may provide written fortunes to shrine visitors. They may also perform ritual dances and songs that are believed to invoke the presence of the kami and purify the space. Maidens often assist and great visitors to the shrine and may sell amulets and talismans or other items that may bring good fortune or protection. Maidens duties often so include daily maintenance of the shrine such as performing regular cleaning to ensure the shrine's facilities remain clean and sacred. Their daily maintained may include assisting in preparing and presenting offerings to kami. Both priests and maidens play vital roles in the shrine running ands its effectiveness.
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What are the steps needed to be taken at the purification trough before entering the Shrine?:
Before entering Shinto shrine visitors traditionally perform a purification ritual at the purification trough to cleanse themselves spiritually. First someone would approach the purification trough remaining quiet and respectful. Next they should pick in the ladle provided also known as a "hishaku" usually made of either bamboo or metal and is used to scoop water from the trough then using that pour water over their left hand first. This is done by holding the ladle in their right hand and letting the water flow over their left hand then they should switch hands and do the same. Then the person should use the ladle to pour a small amount of water into their left hand and then should gently rinse their mouth with the water, making sure not to swallow it. Spit the water out beside the trough, not into it. After rinsing their mouth, they use the remaining water to rinse the ladle itself. They should the ladle upright to allow the water to flow over the inside and outside surfaces and then should place the ladle back in its holder/designated position in the trough.
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How are offerings to a Kami performed?:
Offering to a kami is a key practice in Shintoism, also known as "shinsen" and are a way to show gratitude to the kami, seek their favor and maintain a harmonious relationship with them. Before approaching the offering box, the person should bow respectfully. This shows reverence and acknowledges the presence of the kami. The person should step forward quietly and approach the offering box (saisen-bako), which is typically located in front of the main hall (honden). If they are offering food, sake, or other items, they are usually presented on a small table or tray (sanbo). The person should lay the offering in the designated area, typically in front of the main shrine building or on an altar. After making the offering, bow deeply twice to show respect and humility before the kami. Clap your hands twice, known as "nijireihakushu" (二礼二拍手). This action is meant to call the attention of the kami and express the persons presence. After clapping, hold your hands together in a brief pause. This is a moment for silent prayer or meditation, where the person can make a personal request or express gratitude. The person should finish the ritual with a final deep bow. This completes the formal part of the offering and shows their continued respect as they conclude their interaction with the kami. At some shrines, there’s a bell or gong (suzu) hanging above the offering box. If present, gently pull the rope to ring the bell after the initial bow or just before the final one. The sound is believed to attract the kami’s attention. After the final bow, take a step back before turning away from the shrine. This shows respect by not turning your back directly on the kami. The person may bow once more upon leaving the shrine grounds as a final act of respect.
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How do you perform a tea ceremony ritual?:
The tea room (chashitsu) should be meticulously clean and free of distractions. The host prepares the space with great care. Essential items include a tea bowl (chawan), tea whisk (chasen), tea scoop (chashaku), tea container (natsume for thin tea or chaire for thick tea) and a kettle (kama). These are placed in a specific arrangement that follows tradition. Fresh, soft water is heated in the kettle, preferably over a charcoal fire. The matcha is sifted and measured into the tea container. The host greets each guest with a bow as they enter the tea room. Guests are expected to bow in return and express their gratitude. Before entering, guests often rinse their hands and mouth at a stone basin (tsukubai) outside the tea room to symbolize purification. Guests enter the tea room in order of seniority, bowing to the tokonoma (an alcove in the room often displaying a hanging scroll or flower arrangement) as a sign of respect. The host usually explains the significance of the displayed items in the tokonoma. Guests may take a moment to appreciate the art or flower arrangement. The host ceremonially cleans the tea bowl, whisk, and scoop using a cloth (fukusa) in precise, deliberate movements. This is done in full view of the guests. The tea bowl is warmed with hot water, then dried. The host uses the chashaku to place a measured amount of matcha into the tea bowl. Hot water from the kettle is ladled into the tea bowl. The host uses the chasen to whisk the matcha into a frothy consistency for thin tea (usucha) or a smooth, thick consistency for thick tea (koicha). The host serves the tea to the guest of honour first. The guest bows and then receives the bowl with both hands. he guest rotates the bowl slightly to avoid drinking from the front (the most beautiful side), takes a sip, and admires the bowl. The guest then wipes the rim with a napkin (kaishi) before passing it to the next guest. After finishing, each guest expresses appreciation to the host and the next guest before passing the bowl along. In ceremonies where thick tea is prepared, guests share the same bowl. The guest takes a sip, wipes the rim, and passes it to the next guest. The host cleans the tea bowl and utensils again in front of the guests, symbolizing the conclusion of the ritual. The host returns the cleaned utensils to their original positions. The host and guests exchange bows as a sign of mutual respect and gratitude. Guests exit the tea room in the reverse order of entry, often pausing to once more admire the tokonoma. Before leaving, guests express their final thanks to the host for the experience.
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Explain what a Tamagushi, Ofuda and Kagura Suzu is and what they're used for:
————————————————————٠Tamagushi٠————————————————————
A Tamagushi is a sacred offering used in Shinto rituals, typically made of a sakaki branch (a type of evergreen tree) adorned with strips of white paper (shide). The sakaki tree is considered sacred in Shinto and symbolizes purity and the connection between the human and spiritual worlds. Tamagushi is offered to the kami during Shinto ceremonies as a gesture of respect and reverence. This is done in various rituals, including weddings, festivals, and other religious observances. The act of offering a Tamagushi is also seen as a purification ritual, helping to cleanse the participants and the space where the ritual is performed. During a ritual, the person making the offering (which can be a priest, a worshiper, or an important participant in the ceremony) will approach the altar, bow, and present the Tamagushi by placing it on a special stand or directly in front of the shrine. This is often accompanied by a prayer or silent contemplation.
————————————————————٠Ofuda٠————————————————————
An Ofuda is a type of paper or wooden talisman issued by Shinto shrines, bearing the name of a kami or the shrine itself. It often includes sacred inscriptions or symbols and is considered to be imbued with the power of the kami. After receiving an Ofuda, it is placed in a prominent or sacred spot in the home, such as in a kamidana (a home shrine), on a wall, or near the entrance. It should be treated with respect and not be placed on the ground or in a low, unclean place. Ofuda is primarily used for protection. People place these talismans in their homes, cars or places of work to invite the blessings and protection of the kami into their daily lives. In addition to protection, Ofuda is also believed to bring good fortune and health to those who keep it. Typically, Ofuda are renewed annually. The old Ofuda is returned to the shrine, where it is respectfully disposed of through a ritual burning, and a new one is obtained.
————————————————————٠Kagura Suzu٠————————————————————
Kagura Suzu refers to a set of bells used in Shinto ritual dance (Kagura). The instrument typically consists of a handle with several small bells attached, often arranged in three tiers. The sound produced by the Kagura Suzu is clear and resonant, adding to the spiritual ambiance of the ritual. Kagura Suzu is used in Kagura, a traditional dance performed to entertain the kami during Shinto ceremonies. The dance is often performed by shrine maidens and is meant to invite the presence of the kami, purify the space, and bring blessings. The sound of the bells is believed to purify the area and the participants, driving away negative energies and inviting positive spiritual influences. The shrine maiden or dancer holds the Kagura Suzu by its handle and shakes it rhythmically during the dance. The sound of the bells complements the movements of the dance, creating a harmonious and sacred environment that enhances the ritual's spiritual efficacy.
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(OPTIONAL) Based on your character; which other Kami would they worship?:
My character would also worship Inari the Japanese kami of foxes, fertility, rice, tea and sake, agriculture and industry as she visited the Fushimi Inari-Taisha Shrine often when she lived in Kyoto and this was the head shrine of Inari. Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 CE, although some scholars believe that worship started in the late 5th century. By the 16th century, Inari had become the patron of blacksmiths and the protector of warriors, and worship of Inari spread across Japan in the Edo period. She would worship this kami often in hopes of good harvest so she could enjoy food, sake and so the foxes of Inari would watch over her.
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Out-Of-Character (OOC) Section
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IN-GAME NAME (IGN):
Bandit76
DISCORD NAME & TAG:
bandit76
WHAT IS YOUR TIMEZONE?:
BST/GMT
DO YOU HAVE A MICROPHONE?:
Yes, although I prefer not to use it and if I do there is likely to be background noise
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DESCRIBE YOUR ACTIVITY ON THE SERVER:
Currently as of writing this it is summer break play usually from 9am-9pm and then sometimes up till 3am though and sometimes I dont et out of bed until 11:30. When school starts back up I am able to get to my laptop between 4pm-9pm Monday-Friday though I will be most likely be doing homework whenever I am not needed. On weekends I can get on around 7am-10am and can be on till 9pm.
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WHAT POSITION ARE YOU APPLYING FOR?:
Maiden
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WHAT KNOWLEDGE DO YOU CURRENTLY HAVE OF SHINTOISM AND ARE YOU PREPARED/WILLING TO LEARN MORE ABOUT THE RELIGION?:
My understanding of Shintoism is presently rather restricted. I have engaged in only a small amount of research regarding this religion in the past, mainly to create the background of a character I was developing. Nevertheless, I acknowledge that Shintoism represents a profound and intricate spiritual tradition with significant cultural importance in Japan. I am fully ready and eager to expand my knowledge of this intriguing religion to enhance my comprehension and appreciation of it.
————————————————————٠Shrines٠————————————————————
Shrines, also known as "jinja," play a pivotal role in the practice of Shinto. They are revered spaces where kami, or spirits, are honoured and worshipped. It is noteworthy that these shrines are dispersed across Japan, varying from modest roadside edifices to grand, intricate complexes. Typically, shrines incorporate significant architectural features such as the honden (main hall) and the haiden (worship hall), which are venues for rituals and offerings. I recognize that visiting these shrines is a vital aspect of Shinto practice, especially during festivals and significant life events. I am keen to deepen my understanding of the various types of shrines, their historical backgrounds, and the specific rituals conducted at each site, along with the symbolic significance of their architecture and locations.
————————————————————٠Torii Gates٠————————————————————
Torii gates are another big part of Shintoism. These gates mark the entrance to a sacred space, often shrines, signifying the boundary between the mortal world and the spiritual realm. Typically made of wood or stone, torii gates are often painted in vibrant red, although they can also be found in other colours or materials. I understand that passing through a torii gate is a symbolic act of purification, preparing the visitor to enter the sacred area of the shrine. The number of torii gates at a shrine can vary, with some sites, like the famous Fushimi Inari Taisha in Kyoto, featuring thousands of these gates. I am interested in learning more about the historical origins of torii gates, the various styles and their significance, and how they are maintained and revered within Shinto practice.
————————————————————٠Kami٠————————————————————
The concept of kami holds a key position in Shintoism. These spirits or deities are believed to inhabit various elements of the natural world, including mountains, rivers, trees, and animals. Additionally, kami may encompass ancestral spirits as well as those of significant historical figures. It is noteworthy that Shinto lacks a rigid doctrine or sacred texts, leading to a diverse interpretation of kami. They can range from benevolent entities that safeguard and bless communities to more enigmatic spirits that necessitate careful attention and respect. The interaction between humans and kami is characterized by mutual respect and gratitude, expressed through rituals, offerings, and festivals. I am keen to explore the various types of kami, their significance within Shinto beliefs, and the ways in which they are venerated in both communal ceremonies and personal practices. Kami also have a variety of power levels not all able to take a physical form.
Through the enhancement of my knowledge in these domains, I aspire to achieve a more profound comprehension of Shintoism, including its practices and cultural importance. This endeavor will not only contribute to my personal growth but also expand my appreciation for this ancient and vibrant tradition.
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WHAT MAKES YOU STAND OUT FOR THIS ROLE OVER OTHER APPLICANTS?
I believe I am a great candidate for this position because of my deep interest in Shintoism and my massive desire to learn more about the religion. My fascination with Shintoism comes from my belief in gods and my curiosity about different religions and mythologies. I’m really excited to explore Shintoism's history, practices, and cultural significance, and I’m fully committed to doing whatever it takes to learn more. One thing that sets me apart is my willingness to put in a lot of time and effort into this. I am ready to spend as much of my free time as possible studying Shintoism. I plan to do this through reading, research, and using any resources available to me. Japanese history has always been a big interest of mine, and I would love to dive deeper into it by learning more about Shintoism. I am especially excited about the idea of sharing this passion with others through SRP. I have done some research on Shintoism before because it is something I really enjoy, but I only know the basics of the religion. Even though my memory is not the best, I hope that being a shrine maiden in the game will help me learn and remember more about Shintoism. Overall, I am very motivated to expand my knowledge and improve my skills through this opportunity. I should also mention that I do not usually do detailRP because I am a slow typer and have trouble thinking of things on the spot. However, I am eager to learn how to detailRP by playing the role of a shrine maiden.
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DO YOU ACKNOWLEDGE YOU WILL HAVE TO ATTEND MANDATORY TRAININGS TO BE TAUGHT MORE ABOUT SHINTOISM AND THE ACCORDING PROCEDURES?:
I understand this and am willing to attend any within my time I can be online.
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In-Character (IC) Section
SECTION 1: Character Details
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CHARACTERS FULL NAME:
Kaminalara Zashiratlina Hotangostalna Yuhi Mocalásku (Forename:2 middle names:2 surnames)
CHARACTERS TITLE (E.g. Mr. Mrs. Miss):
Miss
CHARACTERS AGE (E.g. 21-80):
21
"I know I look young but I'm 21... not 12."
CHARACTERS MARITAL STATUS:
Single
"Always have been..."
(working on things in game rn so may change)
CHARACTERS NATIONALITY:
Japanese and Slovakian
CHARACTERS PHONE-NUMBER:
(+81)(030)-371-2717
"Feel free to call me if I'm needed for anything."
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WHAT IS YOUR MOTIVATION FOR APPLYING TO WORK AT THE MONASTERY?:
"My motivation for applying to work at the monastery? It comes from my connection to Shintoism. I’ve always been a Shintoist, and this belief has been a central part of my life since I was just a little child. Recently, I decided that I wanted to take my faith further by learning more about the practices and traditions of Shintoism, beyond what I have already learned. Working at the monastery feels like the perfect way to deepen my understanding and fully immerse myself in my spiritual journey. I also have prior martial arts experience, and I’m eager to find a meaningful way to put that knowledge to use... I mean the only other ways I could think of would be being a criminal which isn't really my thing or being part of KPD... so I decided on the shrine. I believe that working at the monastery will not only allow me to explore my spiritual path but also give me the opportunity to apply my martial arts skills in a way that aligns with my beliefs. I hope becoming a maiden will also allow me to practice my martial arts further as I have had no teacher for the last 3 years most of my martial arts have... made slow progress... This combination of spiritual growth and the practical application of my skills is what motivates me to be a part of the monastery."
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TELL ME WHAT HISTORY AND INFORMATION YOU KNOW ABOUT THE SHINSEI SEINARU MONASTERY:
"Right the history. I asked about this awhile ago... when I was... 18 I believe then I did some research for dates based on the info I was given. I came down to the shrine and asked some priests abut the shrines history... Nibbu and Sho I think their names where. If I'm correct the shrine was first built in... 762 where construction started 18 years prior. It was originally a Buddhists temple called Akatera I believe made to be away from human civilisation in the mountains. The Akatera Monastery was burned down in 1176 I believe... I believe it was burned down by the Taira family and their allies... due to a feud with another family I believe. It was rebuilt in... 1228 as the Kisune shrine which was also a Buddhist shrine which was later burned down... I'm not sure of the reason or time the Kisune shrine was burned down sadly. The current version of the Monastery was built in 1617. It was again burnt down in 1622 but since its still here I assume it survived the fire. I had heard it had been burnt another time but I didn't get any details on it from the priests so I did my own research on it. I believe it was more recently in 2004 where a Head Priest tried to burn it down... though on that one I'm not too sure."
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WRITE A LETTER TO THE MONASTERY LEAD:
[!]In a envelope there would be 3 pieces of paper with a carefully handwritten message in large Japanese letters inside with the order numbered in the top right.[!]
1
Dear Monastery Lead:
I am Kaminalara Zashiratlina Hotangostalna M-Yuhi I am writing to you because I have become interested in becoming a maiden in the Shinsei Seinaru Monastery. I have been a Shintoist since I was a child and the religion has always had a place in my heart.
2
I used to regularly visit a shrine in Kyoto but I have never taken my belief much further. Though I hope that through becoming a maiden at your monastery I will be able to learn more about the religion and deepen my connection with it. I would also like to be able to put my martial arts knowledge to use and I believe as a shrine maiden I can help people with what I have learned.
3
I would like to further improve upon the martial arts I have already learned and feel this would be a great place to learn with the other Shrine workers to be able to Improve upon my abilities. I hope you will consider letting me join the shrine as a maiden.
[!]In the bottom left would be a signature written in Slovak and in Japanese Kanji from Kaminalara Yuhi[!]
(Last name is wrong for the signature picture due to a family rebrand)
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BACKSTORY (100+ Words):
(Ic answer)
"My past? Well, I was born back in Kyoto. My mother is Japanese but my father is Slovakian. As long as I can remember I have been learning martial arts, my dad was an instructor for it and taught me. It deffenitly wasn't easy to be doing martial arts at such a young age but I learned just the basics... kinda? It became a monthly thing for me to visit the Fushimi Inari-Taisha Shrine, I visited with my parents and me being a kid always prayed for a good harvest just so I could eat lots of food. I used to spend so much of my free time practicing martial arts... I'm surprised I was still doing... ok-ish in school. I learned to enjoy a good bit of art and even designed some masks with my mother. My designs weren't e best... I mean what can you expect out of a child? Over all this time my parents here teaching me both Slovak and Japanese at the same time and I was even also Czech my own. Though despite studying still most of my time was spent on martial arts, I even started to get interested in the performance side of martial arts and I even made some performances for the weapons I had learned martial arts for. Sadly my parents passed when I was 18 and I decided to move away. I came to Karakura and not long after being there I was taken into a family, the family I'm still in today. I don't think my family matters aren't that important but basically I got taken into the Yuhi family and when I turned 19 I started a new family while staying in my old one... though I'm not as close to them anymore. In Karakura I wanted to continue to practice my martial arts skills but I didn't really have anyone to show me new forms or correct my current ones so progress became slow, because of this I decided to make my own style... I wouldn't say its up there with all these martial arts developed over year but I took parts from what I knew and it's not... terrible? Over the past 3 years I've been experimenting around with it making stances and moves for those stances... it still has a lot of work to go to become perfect but I hope here in the shrine I will be able to develop it. I currently only have two stances Shinrai no kamae and Kaze no kamae... right and I called the martial arts style Ryōga-Ryū though it's still a massive work in progress."
Kaminalara Zashiratlina Hotangostalna M-Yuhi originally just Kaminalara Zashiratlina Hotangostalna was born in Kyoto, Japan. Her father, Marik Zashiratlina, a 6'1" blond Slovakian martial arts teacher, taught karate and kobudō, while her mother, Nagata Hotangostalna, a 5'3" blond Japanese psychology teacher with pitch-black dyed hair, nurtured her intellect. Kaminalara was named to symbolize divine protection; "Kami" meaning God and "Lara" meaning protection. From a youthful age, she learned both Japanese and Slovak, slowly picking up the languages from her parents. Kaminalara's journey into martial arts began as soon as she could walk. Her father, dedicated to ensuring she could protect herself. Her training began with the basics of balance and coordination so she would be able to learn the forms of kobudō. At a youthful age Kaminalara was diagnosed with ADHD though it did not affect her life that much it only made her struggle to remain still and struggle to concentrate for prolonged periods of time.
She started visiting the Fushimi Inari-Taisha Shrine at just 4. It is the head shrine of the kami Inari the Japanese kami of foxes, fertility, rice, tea and sake, agriculture and industry, Inari was also the patron of swordsmiths and merchants. Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 CE, although some scholars believe that worship started in the late 5th century. By the 16th century, Inari had become the patron of blacksmiths and the protector of warriors, and worship of Inari spread across Japan in the Edo period. Inari is a popular figure in both Shinto and Buddhist beliefs in Japan. More than one-third of the Shinto shrines in Japan are dedicated to Inari. Inari's foxes, or kitsune, are pure white and act as their messengers but it is more likely that in ancient times the fox itself was revered as the kami of rice. The shrine sits at the base of a mountain, also named Inari, which is 233 metres (764 ft) above sea level, and includes trails up the mountain to many smaller shrines which span 4 kilometres (2.5 mi) and take approximately 2 hours to walk up. It is unclear whether the mountain's name, Inariyama, or the shrine's name came first. Visiting this shrine became a monthly thing for Kaminalara as even at 4 she prayed to Inari for a good harvest so she could continue to eat all the foods she liked.
At the age of 5, Kaminalara began her training in Bōjutsu, the art of using the bō staff. Her father crafted a small, lightweight staff for her to use, and they would practice together in the backyard. Marik emphasized the importance of fluid movements and precision, often incorporating games to keep her engaged. As she grew older, her techniques became more refined, and her father introduced more complex forms and sparring sessions. When she turned 7, her father began teaching her Naginatajutsu, the skill of wielding the naginata, a traditional Japanese pole weapon. Kaminalara found this weapon fascinating, with its long blade and elegant form. Marik would take her to a local dojo, where she practiced with other students. Her father would often join these sessions, offering personalized guidance and ensuring she mastered the intricate footwork and sweeping attacks characteristic of the naginata. At 9, Kaminalara was introduced to Sōjutsu, the art of spear fighting. Marik would set up mock battles in their yard, using padded spears to prevent injury. He taught her the importance of timing and distance, how to thrust accurately, and how to defend against attacks. They would practice for hours, with Marik sharing stories of historical battles and the significance of the spear in Japanese martial culture.
At the tender age of 8, Kaminalara discovered a passion for mask design, a craft she shared with her mother. Her mother, who had a deep appreciation for traditional Japanese art, often spent her free time creating an array of intricate masks, including kitsune (fox spirits known in Japanese folklore), oni (demon-like creatures), and samurai masks, each carrying rich cultural significance. Kaminalara, fascinated by the creativity and stories behind these masks, eagerly joined her mother in this artistic endeavour. The process became a cherished ritual; together, they would sit for hours, sketching and designing, letting their imaginations run wild. Kaminalara found immense joy in the creative process, experimenting with different shapes, colours, and patterns, each design reflecting a piece of her growing artistic identity. After completing her designs, she would proudly share them with her mother, who encouraged her creativity and provided gentle guidance. Although Kaminalara was eager to see her creations come to life, she kept most of her designs stored away, like treasured secrets.
Throughout this time, Kaminalara attended a local school in Kyoto, balancing her rigorous training schedule with her academic responsibilities. She consistently practiced her Japanese and Slovak at home, engaging in daily conversations with her parents, which helped her achieve near-native fluency in both languages. Her dedication to mastering languages did not stop there; she also immersed herself in learning Korean and Czech. She utilized online resources, such as language learning apps and video tutorials, and purchased various books and dictionaries to aid her studies. Her room was filled with language textbooks, flashcards, and notebooks where she meticulously wrote down new vocabulary and grammar rules. Kaminalara's interest in languages often took precedence over her school subjects. While her classmates focused on their regular coursework, Kaminalara could often be found in the library, surrounded by language books or watching Korean Dramas and Czech films with subtitles to improve her listening skills. She enjoyed the challenge of decoding unfamiliar scripts and sounds, finding joy in the nuances of different linguistic structures. Her school performance in traditional subjects was adequate, but her passion clearly lay in her self-directed studies.
In school, Kaminalara found a kindred spirit in a fellow student called Takeshi who shared her passion for martial arts. This friend, who had only recently begun learning Karate, was instantly drawn to Kaminalara's skill and dedication. Unlike Kaminalara, who had been immersed in martial arts from the moment she could walk, her friend was a novice, but their enthusiasm and eagerness to learn quickly bridged the gap between their experience levels. The two became fast friends, bonded by their mutual love for martial arts. Despite their different levels of expertise, they saw each other as equals and, more importantly, as rivals. This rivalry was not fuelled by animosity but by a shared desire to grow and improve. They pushed each other to reach new heights, constantly striving to outdo the other in their techniques. Whether it was perfecting a complex kata or mastering a difficult kick, each of them was determined to keep impressing the other.
By the age of 11, Kaminalara began learning Kenjutsu, the art of the sword. Her father presented her with a wooden bokken to start with. They practiced kata together, moving in sync as they executed precise cuts and blocks. Marik would often take her to the mountains for training, where they could practice in solitude. He emphasized the importance of discipline and mental focus, teaching her that the sword was an extension of her own spirit. At 13, Kaminalara started her training in Kyūjutsu, the art of archery. Marik built a small archery range in their backyard, and they would spend weekends practicing together. He taught her the proper stance, how to draw the bow, and how to release the arrow smoothly. Kaminalara enjoyed the meditative aspect of archery, finding peace in the repetitive practice. Her aim improved steadily, and she began to participate in local archery competitions.
It became a weekly tradition for Takeshi to meet at Kaminalara at her house, where they would spar, exchange tips, and showcase the new techniques they had learned or developed. These sessions were not just about competition; they were opportunities for both of them to grow. Kaminalara, with her years of experience, would often help her friend refine their moves, offering guidance and encouragement. In return, her friend’s fresh perspective and innovative approach to Karate inspired Kaminalara to think outside the box and experiment with new ideas. These weekly meetups became a cherished routine, filled with laughter, friendly banter, and mutual respect. As they trained together, they also shared stories about their lives, school, and aspirations, deepening their bond beyond just martial arts. Through this friendship, Kaminalara not only honed her skills but also learned the value of camaraderie and the joy of having someone to share her passion with. This friendship, forged through sweat and determination, would remain one of the most influential and supportive relationships in Kaminalara’s life during her school years.
At the age of 15, Kaminalara discovered the world of anime and quickly became captivated by it. The vibrant characters, intricate storylines, and unique cultural elements fascinated her, adding another layer to her language learning journey. She began to watch anime avidly, using it as a tool to improve her Japanese listening and comprehension skills. This newfound interest extended to playing video games, where she enjoyed the immersive experiences and the additional practice they provided in reading and understanding Japanese. Her fascination with anime and gaming led her to become somewhat of a shut-in. Outside of school hours, Kaminalara spent most of her time at home, engrossed in watching anime, playing games, practicing her languages, or training in martial arts. Her father continued to guide her martial arts practice, helping her integrate the various disciplines she had learned into a cohesive and fluid fighting style. They would often spar together, refining her techniques and improving her strength and agility. Despite her reclusive habits, Kaminalara maintained a strong sense of discipline. Her schedule was meticulously organized to balance her diverse interests. She allocated specific times for watching anime, playing games, language study, and martial arts training. This routine allowed her to excel in her pursuits, even if it meant sacrificing a traditional social life.
Kaminalara began to use her extensive knowledge in martial arts to create routines for flashy moves inspired by anime and movies for all of the weapons she learned to wield in her kobudō. These routines not only showcased her technical prowess but also her flair for dramatic and visually striking combat techniques.
Bo-Staff
Kaminalara's bo-staff routines involved a blend of fluidity and precision. She practiced spinning the staff around her body at high speeds, incorporating acrobatic movements like flips and cartwheels to enhance the visual impact. Her routine began with a series of rapid spins to build momentum, followed by a seamless transition into powerful thrusts and sweeps. She incorporated jumps and twirls, using the staff to create a dynamic flow that mimicked the graceful yet deadly movements seen in anime.
Naginata
For the naginata, Kaminalara developed a routine that highlighted the weapon's reach and versatility. She started with wide, sweeping arcs that demonstrated control and strength. Integrating elegant spins, she would transition into quick, precise strikes that showcased her accuracy. Her movements were synchronized with dramatic footwork, including high kicks and low sweeps, creating a dance-like performance. The routine culminated in a series of complex twirls and aerial maneuvers, leaving a lasting impression of her mastery over the naginata.
Spear
Kaminalara's spear routine focused on agility and precision. She performed rapid thrusts and parries, interspersed with agile dodges and spins to evade imaginary opponents. Her routine included intricate footwork patterns, allowing her to maneuver quickly and strike from unexpected angles. Incorporating jumps and rolls, she maintained a constant flow of movement, making the spear seem like an extension of her body. The routine ended with a dramatic leap, thrusting the spear downward as if vanquishing a powerful foe.
Katana
With the katana, Kaminalara aimed to capture the essence of a traditional samurai duel while adding a modern flair. Her routine began with slow, deliberate movements, showcasing the katana's deadly elegance. She executed precise cuts and blocks, gradually increasing the speed and intensity. Incorporating spins and acrobatic flips, she created a visually captivating display of swordsmanship. The routine featured complex parrying sequences and dramatic finishing moves, embodying the spirit of anime sword fights.
Ōdachi
The odachi, with its massive blade, required Kaminalara to focus on strength and control. Her routine highlighted the weapon's power through wide, sweeping strikes and overhead slashes. She performed strong, deliberate movements, punctuated by moments of stillness to emphasize the weight of the weapon. Incorporating powerful jumps and grounded stances, she demonstrated her ability to wield the odachi with both grace and force. The routine ended with a dramatic, slow-motion strike, underscoring the odachi's formidable presence.
Bow
Kaminalara's bow routine combined precision archery with acrobatic flair. She began by nocking arrows with fluid speed, firing at targets with pinpoint accuracy. Integrating graceful spins and rolls, she would shoot while in motion, showcasing her agility and control. The routine included shooting multiple arrows in rapid succession and executing high jumps while releasing shots mid-air. She concluded with a dramatic long-distance shot, hitting a target with perfect precision, embodying the spirit of anime archers.
Kaminalara had always listened to music during her practice sessions, finding that it helped her maintain focus and rhythm. Over time, her appreciation for music deepened. She began to explore different genres, from classical pieces that matched the elegance of her martial arts routines to upbeat pop and rock tracks that energized her workouts. As she immersed herself in music, Kaminalara found herself naturally singing along, first quietly and then with more confidence. Her practice sessions became a blend of physical and vocal expression, each move accompanied by a melody or a beat. The act of singing along not only enhanced her enjoyment but also served as an additional outlet for her emotions, allowing her to connect with the music on a deeper level. Eventually, singing became a regular part of her daily routine, whether she was practicing her martial arts, studying, or simply relaxing. The harmony of her voice and her movements created a unique synergy, enriching her personal and training experiences. Eventually she even began to make her own DAW music that she sang over using her large vocal range to create a variety of songs she could enjoy as she trained.
One fateful day when Kaminalara was 18, she returned home to find her quiet sanctuary disrupted by flashing lights and a somber atmosphere. Police officers informed her of a tragic car accident involving her parents. Shock and grief enveloped her as she struggled to come to terms with the sudden loss. With a heavy heart and no immediate family left, Kaminalara made a decision to start afresh in a new place, away from the memories that now haunted her every corner of their home in Kyoto. She moved to Karakura, a serene town nestled away from the bustling city life of Kyoto. There, she was taken in by the Yuhi clan, specifically the Yoru family—a branch renowned for their expertise in scouting talents and gathering intelligence. The Yuhi clan embraced her as one of their own, recognizing her potential and the unique skills she had honed throughout her upbringing. Kaminalara found solace in her new family, who provided her with guidance and a sense of belonging during her darkest hour.
She quickly rose through the ranks, earning the position of Vice-Lead of the Yoru family, a title that came with significant responsibilities and challenges. As Vice-Lead, Kaminalara played a crucial role in managing the family's operations, guiding its members, and ensuring that their objectives were met with precision and discipline. Under her leadership, the Yoru family thrived for a time, becoming known for their strategic prowess and strong bonds. However, despite their successes, the Yoru family faced internal struggles and external pressures that eventually led to its disbandment. The dissolution of the Yoru family was a difficult moment for Kaminalara, as she had poured her heart and soul into her role. Yet, her skills and determination did not go unnoticed by the broader Yuhi clan. Recognizing her potential, the Mochizuki branch, known for its expertise in managing the Yuhi clan's public image and orchestrating events, welcomed her into their fold.
Without anyone to guide her further in her martial arts journey, Kaminalara found herself at a crossroads. Her existing techniques were already at a high level, honed through years of disciplined practice. However, she quickly realized that without new input or advanced training, her progress had begun to plateau. The mastery she had achieved in various martial arts forms left little room for improvement in the traditional sense, as she had reached a point where merely practicing the same techniques would no longer yield significant growth. Determined to continue advancing, Kaminalara decided to take a different approach. She understood that if she couldn't learn new techniques from others, she would have to create her own. This idea of innovation excited her, as it allowed her to combine the knowledge she had accumulated over the years in a way that was uniquely hers. She envisioned a new style, one that would incorporate elements from each of the martial arts disciplines she had studied—Bōjutsu, Naginatajutsu, Sōjutsu, Kenjutsu, and Kyūjutsu—and blend them into something entirely new.
Inspired by the versatility and fluidity of the naginata, she envisioned a unique weapon: a dual-headed naginata. This weapon, with a blade on each end, would require exceptional control and precision. She knew that mastering such a weapon would not only challenge her but also push the boundaries of her creativity and technique. Lacking a real dual-headed naginata, Kaminalara adapted by using her bamboo bo-staff as a stand-in. In her mind, she visualized the staff's ends as sharp, deadly blades, and began to experiment with new forms and stances. She quickly discovered the inherent difficulty of the weapon—striking with one end meant being mindful of the other, which could easily come too close for comfort. This challenge required her to think differently about balance, distance, and timing.
To refine her technique, Kaminalara set up a practice dummy she had bought online, positioning it in her training space. She began to develop stances that allowed her to maintain distance while striking with either end of the imagined blades. Her movements had to be both defensive and offensive, as she envisioned parrying incoming attacks with one end of the naginata while simultaneously delivering a counterstrike with the other. Her practice sessions became experiments in creativity and adaptability. Kaminalara started with simple strikes and blocks, gradually increasing the complexity of her movements as she gained more confidence. She incorporated spins and twirls, using the momentum to transition smoothly between attacks. Over time, she developed a series of techniques that flowed seamlessly from one to the next, creating a dynamic and fluid style that was all her own.
Kaminalara's dedication to her new technique paid off. She found that not only was she able to create effective forms for the dual-headed naginata, but she was also improving her overall martial arts skills. The process of inventing and refining her techniques enhanced her understanding of balance, timing, and spatial awareness. Each session brought new insights, and she continued to refine and perfect her moves, always seeking to push the boundaries of what she could achieve. Through this innovative approach, Kaminalara turned a challenge into an opportunity, transforming what could have been a period of stagnation into a time of creative growth and discovery. Her self-created dual-headed naginata techniques became a testament to her ingenuity, resilience, and unwavering commitment to mastering her craft.
Kaminalara made her her own family, the Mocalásku family meaning "Power and love" in Slovak. She hopped in the family she would be able to have siblings she could get along with. There was no parent to the family and she had one younger sister in the family that she made. Despite this the young woman was determined to grow the family as a place for others that didn't feel they belonged anywhere else.
At 19 she would have come up with a name for her martial arts style, "Ryōga-Ryū" and she began to develop techniques for this martial arts style. The first stance she made was called Shinrai no kamae (Stance of the Divine Thunder) and in the stance the user stands with feet shoulder-width apart, knees slightly bent, and the dual-headed naginata held horizontally and the left side pointing up and forwards and going across Infront of the body with the front blade facing down. The left hand grips the center of the staff, while the right hand is slightly above it, allowing for quick adjustments. The first more was called "Sandāsupin," in this move the used would do a horizontal slash from their own top right to bottom left with the forwards blade then taking the left hand off from the handle before using it to push the staff round to hit with the second head whilst stepping to the side so the used does not slash themselves before stepping back and switching the hand placement to get back into stance but now with what would have been the blade pointing back now pointing forwards. The second move "Raiho no Uchi," in this move the user first rotates the staff so the front blade faces upwards. The user the thrusts the blade forwards into the opponent's stomach area before quickly withdrawing it out and moving the blade down then doing an upwards slash to the body. The third and current last move for the "Ryōga-Ryū" is "Kaminari no Yoru" In this the naginata is rotated so front blade is facing upwards, the user the used the back side of the blade where it is dull to sweep the legs of the opponent the quickly raising it up to the blade up and placing at the opponents neck.
At 21 she began to make a new stance, Kaze no kamae (Stance of the Wind) this stance is light and fluid, with the practitioner keeping their weight on the balls of their feet as they are in a low down stance, ready to move in any direction. The naginata is held loosely, with the blade held horizontally at the left side of the user with the front blade facing down and it pointing towards the opponent. The first move of the stance would be "Sora no Mai" and in this move the user would spin the naginata so the blade is upwards before doing an upwards slash to the opponent before backing off and returning to the stance. The second move of this stance is "Amatsukaze" where the user thrust the naginata forwards into the opponents stomach before lifting there right leg up and getting into a side on position then hopping forwards whilst pulling out the naginata then launching a side kick at the opponent to gain distance.
She started visiting the Fushimi Inari-Taisha Shrine at just 4. It is the head shrine of the kami Inari the Japanese kami of foxes, fertility, rice, tea and sake, agriculture and industry, Inari was also the patron of swordsmiths and merchants. Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 CE, although some scholars believe that worship started in the late 5th century. By the 16th century, Inari had become the patron of blacksmiths and the protector of warriors, and worship of Inari spread across Japan in the Edo period. Inari is a popular figure in both Shinto and Buddhist beliefs in Japan. More than one-third of the Shinto shrines in Japan are dedicated to Inari. Inari's foxes, or kitsune, are pure white and act as their messengers but it is more likely that in ancient times the fox itself was revered as the kami of rice. The shrine sits at the base of a mountain, also named Inari, which is 233 metres (764 ft) above sea level, and includes trails up the mountain to many smaller shrines which span 4 kilometres (2.5 mi) and take approximately 2 hours to walk up. It is unclear whether the mountain's name, Inariyama, or the shrine's name came first. Visiting this shrine became a monthly thing for Kaminalara as even at 4 she prayed to Inari for a good harvest so she could continue to eat all the foods she liked.
At the age of 5, Kaminalara began her training in Bōjutsu, the art of using the bō staff. Her father crafted a small, lightweight staff for her to use, and they would practice together in the backyard. Marik emphasized the importance of fluid movements and precision, often incorporating games to keep her engaged. As she grew older, her techniques became more refined, and her father introduced more complex forms and sparring sessions. When she turned 7, her father began teaching her Naginatajutsu, the skill of wielding the naginata, a traditional Japanese pole weapon. Kaminalara found this weapon fascinating, with its long blade and elegant form. Marik would take her to a local dojo, where she practiced with other students. Her father would often join these sessions, offering personalized guidance and ensuring she mastered the intricate footwork and sweeping attacks characteristic of the naginata. At 9, Kaminalara was introduced to Sōjutsu, the art of spear fighting. Marik would set up mock battles in their yard, using padded spears to prevent injury. He taught her the importance of timing and distance, how to thrust accurately, and how to defend against attacks. They would practice for hours, with Marik sharing stories of historical battles and the significance of the spear in Japanese martial culture.
At the tender age of 8, Kaminalara discovered a passion for mask design, a craft she shared with her mother. Her mother, who had a deep appreciation for traditional Japanese art, often spent her free time creating an array of intricate masks, including kitsune (fox spirits known in Japanese folklore), oni (demon-like creatures), and samurai masks, each carrying rich cultural significance. Kaminalara, fascinated by the creativity and stories behind these masks, eagerly joined her mother in this artistic endeavour. The process became a cherished ritual; together, they would sit for hours, sketching and designing, letting their imaginations run wild. Kaminalara found immense joy in the creative process, experimenting with different shapes, colours, and patterns, each design reflecting a piece of her growing artistic identity. After completing her designs, she would proudly share them with her mother, who encouraged her creativity and provided gentle guidance. Although Kaminalara was eager to see her creations come to life, she kept most of her designs stored away, like treasured secrets.
Throughout this time, Kaminalara attended a local school in Kyoto, balancing her rigorous training schedule with her academic responsibilities. She consistently practiced her Japanese and Slovak at home, engaging in daily conversations with her parents, which helped her achieve near-native fluency in both languages. Her dedication to mastering languages did not stop there; she also immersed herself in learning Korean and Czech. She utilized online resources, such as language learning apps and video tutorials, and purchased various books and dictionaries to aid her studies. Her room was filled with language textbooks, flashcards, and notebooks where she meticulously wrote down new vocabulary and grammar rules. Kaminalara's interest in languages often took precedence over her school subjects. While her classmates focused on their regular coursework, Kaminalara could often be found in the library, surrounded by language books or watching Korean Dramas and Czech films with subtitles to improve her listening skills. She enjoyed the challenge of decoding unfamiliar scripts and sounds, finding joy in the nuances of different linguistic structures. Her school performance in traditional subjects was adequate, but her passion clearly lay in her self-directed studies.
In school, Kaminalara found a kindred spirit in a fellow student called Takeshi who shared her passion for martial arts. This friend, who had only recently begun learning Karate, was instantly drawn to Kaminalara's skill and dedication. Unlike Kaminalara, who had been immersed in martial arts from the moment she could walk, her friend was a novice, but their enthusiasm and eagerness to learn quickly bridged the gap between their experience levels. The two became fast friends, bonded by their mutual love for martial arts. Despite their different levels of expertise, they saw each other as equals and, more importantly, as rivals. This rivalry was not fuelled by animosity but by a shared desire to grow and improve. They pushed each other to reach new heights, constantly striving to outdo the other in their techniques. Whether it was perfecting a complex kata or mastering a difficult kick, each of them was determined to keep impressing the other.
By the age of 11, Kaminalara began learning Kenjutsu, the art of the sword. Her father presented her with a wooden bokken to start with. They practiced kata together, moving in sync as they executed precise cuts and blocks. Marik would often take her to the mountains for training, where they could practice in solitude. He emphasized the importance of discipline and mental focus, teaching her that the sword was an extension of her own spirit. At 13, Kaminalara started her training in Kyūjutsu, the art of archery. Marik built a small archery range in their backyard, and they would spend weekends practicing together. He taught her the proper stance, how to draw the bow, and how to release the arrow smoothly. Kaminalara enjoyed the meditative aspect of archery, finding peace in the repetitive practice. Her aim improved steadily, and she began to participate in local archery competitions.
It became a weekly tradition for Takeshi to meet at Kaminalara at her house, where they would spar, exchange tips, and showcase the new techniques they had learned or developed. These sessions were not just about competition; they were opportunities for both of them to grow. Kaminalara, with her years of experience, would often help her friend refine their moves, offering guidance and encouragement. In return, her friend’s fresh perspective and innovative approach to Karate inspired Kaminalara to think outside the box and experiment with new ideas. These weekly meetups became a cherished routine, filled with laughter, friendly banter, and mutual respect. As they trained together, they also shared stories about their lives, school, and aspirations, deepening their bond beyond just martial arts. Through this friendship, Kaminalara not only honed her skills but also learned the value of camaraderie and the joy of having someone to share her passion with. This friendship, forged through sweat and determination, would remain one of the most influential and supportive relationships in Kaminalara’s life during her school years.
At the age of 15, Kaminalara discovered the world of anime and quickly became captivated by it. The vibrant characters, intricate storylines, and unique cultural elements fascinated her, adding another layer to her language learning journey. She began to watch anime avidly, using it as a tool to improve her Japanese listening and comprehension skills. This newfound interest extended to playing video games, where she enjoyed the immersive experiences and the additional practice they provided in reading and understanding Japanese. Her fascination with anime and gaming led her to become somewhat of a shut-in. Outside of school hours, Kaminalara spent most of her time at home, engrossed in watching anime, playing games, practicing her languages, or training in martial arts. Her father continued to guide her martial arts practice, helping her integrate the various disciplines she had learned into a cohesive and fluid fighting style. They would often spar together, refining her techniques and improving her strength and agility. Despite her reclusive habits, Kaminalara maintained a strong sense of discipline. Her schedule was meticulously organized to balance her diverse interests. She allocated specific times for watching anime, playing games, language study, and martial arts training. This routine allowed her to excel in her pursuits, even if it meant sacrificing a traditional social life.
Kaminalara began to use her extensive knowledge in martial arts to create routines for flashy moves inspired by anime and movies for all of the weapons she learned to wield in her kobudō. These routines not only showcased her technical prowess but also her flair for dramatic and visually striking combat techniques.
Bo-Staff
Kaminalara's bo-staff routines involved a blend of fluidity and precision. She practiced spinning the staff around her body at high speeds, incorporating acrobatic movements like flips and cartwheels to enhance the visual impact. Her routine began with a series of rapid spins to build momentum, followed by a seamless transition into powerful thrusts and sweeps. She incorporated jumps and twirls, using the staff to create a dynamic flow that mimicked the graceful yet deadly movements seen in anime.
Naginata
For the naginata, Kaminalara developed a routine that highlighted the weapon's reach and versatility. She started with wide, sweeping arcs that demonstrated control and strength. Integrating elegant spins, she would transition into quick, precise strikes that showcased her accuracy. Her movements were synchronized with dramatic footwork, including high kicks and low sweeps, creating a dance-like performance. The routine culminated in a series of complex twirls and aerial maneuvers, leaving a lasting impression of her mastery over the naginata.
Spear
Kaminalara's spear routine focused on agility and precision. She performed rapid thrusts and parries, interspersed with agile dodges and spins to evade imaginary opponents. Her routine included intricate footwork patterns, allowing her to maneuver quickly and strike from unexpected angles. Incorporating jumps and rolls, she maintained a constant flow of movement, making the spear seem like an extension of her body. The routine ended with a dramatic leap, thrusting the spear downward as if vanquishing a powerful foe.
Katana
With the katana, Kaminalara aimed to capture the essence of a traditional samurai duel while adding a modern flair. Her routine began with slow, deliberate movements, showcasing the katana's deadly elegance. She executed precise cuts and blocks, gradually increasing the speed and intensity. Incorporating spins and acrobatic flips, she created a visually captivating display of swordsmanship. The routine featured complex parrying sequences and dramatic finishing moves, embodying the spirit of anime sword fights.
Ōdachi
The odachi, with its massive blade, required Kaminalara to focus on strength and control. Her routine highlighted the weapon's power through wide, sweeping strikes and overhead slashes. She performed strong, deliberate movements, punctuated by moments of stillness to emphasize the weight of the weapon. Incorporating powerful jumps and grounded stances, she demonstrated her ability to wield the odachi with both grace and force. The routine ended with a dramatic, slow-motion strike, underscoring the odachi's formidable presence.
Bow
Kaminalara's bow routine combined precision archery with acrobatic flair. She began by nocking arrows with fluid speed, firing at targets with pinpoint accuracy. Integrating graceful spins and rolls, she would shoot while in motion, showcasing her agility and control. The routine included shooting multiple arrows in rapid succession and executing high jumps while releasing shots mid-air. She concluded with a dramatic long-distance shot, hitting a target with perfect precision, embodying the spirit of anime archers.
Kaminalara had always listened to music during her practice sessions, finding that it helped her maintain focus and rhythm. Over time, her appreciation for music deepened. She began to explore different genres, from classical pieces that matched the elegance of her martial arts routines to upbeat pop and rock tracks that energized her workouts. As she immersed herself in music, Kaminalara found herself naturally singing along, first quietly and then with more confidence. Her practice sessions became a blend of physical and vocal expression, each move accompanied by a melody or a beat. The act of singing along not only enhanced her enjoyment but also served as an additional outlet for her emotions, allowing her to connect with the music on a deeper level. Eventually, singing became a regular part of her daily routine, whether she was practicing her martial arts, studying, or simply relaxing. The harmony of her voice and her movements created a unique synergy, enriching her personal and training experiences. Eventually she even began to make her own DAW music that she sang over using her large vocal range to create a variety of songs she could enjoy as she trained.
One fateful day when Kaminalara was 18, she returned home to find her quiet sanctuary disrupted by flashing lights and a somber atmosphere. Police officers informed her of a tragic car accident involving her parents. Shock and grief enveloped her as she struggled to come to terms with the sudden loss. With a heavy heart and no immediate family left, Kaminalara made a decision to start afresh in a new place, away from the memories that now haunted her every corner of their home in Kyoto. She moved to Karakura, a serene town nestled away from the bustling city life of Kyoto. There, she was taken in by the Yuhi clan, specifically the Yoru family—a branch renowned for their expertise in scouting talents and gathering intelligence. The Yuhi clan embraced her as one of their own, recognizing her potential and the unique skills she had honed throughout her upbringing. Kaminalara found solace in her new family, who provided her with guidance and a sense of belonging during her darkest hour.
She quickly rose through the ranks, earning the position of Vice-Lead of the Yoru family, a title that came with significant responsibilities and challenges. As Vice-Lead, Kaminalara played a crucial role in managing the family's operations, guiding its members, and ensuring that their objectives were met with precision and discipline. Under her leadership, the Yoru family thrived for a time, becoming known for their strategic prowess and strong bonds. However, despite their successes, the Yoru family faced internal struggles and external pressures that eventually led to its disbandment. The dissolution of the Yoru family was a difficult moment for Kaminalara, as she had poured her heart and soul into her role. Yet, her skills and determination did not go unnoticed by the broader Yuhi clan. Recognizing her potential, the Mochizuki branch, known for its expertise in managing the Yuhi clan's public image and orchestrating events, welcomed her into their fold.
Without anyone to guide her further in her martial arts journey, Kaminalara found herself at a crossroads. Her existing techniques were already at a high level, honed through years of disciplined practice. However, she quickly realized that without new input or advanced training, her progress had begun to plateau. The mastery she had achieved in various martial arts forms left little room for improvement in the traditional sense, as she had reached a point where merely practicing the same techniques would no longer yield significant growth. Determined to continue advancing, Kaminalara decided to take a different approach. She understood that if she couldn't learn new techniques from others, she would have to create her own. This idea of innovation excited her, as it allowed her to combine the knowledge she had accumulated over the years in a way that was uniquely hers. She envisioned a new style, one that would incorporate elements from each of the martial arts disciplines she had studied—Bōjutsu, Naginatajutsu, Sōjutsu, Kenjutsu, and Kyūjutsu—and blend them into something entirely new.
Inspired by the versatility and fluidity of the naginata, she envisioned a unique weapon: a dual-headed naginata. This weapon, with a blade on each end, would require exceptional control and precision. She knew that mastering such a weapon would not only challenge her but also push the boundaries of her creativity and technique. Lacking a real dual-headed naginata, Kaminalara adapted by using her bamboo bo-staff as a stand-in. In her mind, she visualized the staff's ends as sharp, deadly blades, and began to experiment with new forms and stances. She quickly discovered the inherent difficulty of the weapon—striking with one end meant being mindful of the other, which could easily come too close for comfort. This challenge required her to think differently about balance, distance, and timing.
To refine her technique, Kaminalara set up a practice dummy she had bought online, positioning it in her training space. She began to develop stances that allowed her to maintain distance while striking with either end of the imagined blades. Her movements had to be both defensive and offensive, as she envisioned parrying incoming attacks with one end of the naginata while simultaneously delivering a counterstrike with the other. Her practice sessions became experiments in creativity and adaptability. Kaminalara started with simple strikes and blocks, gradually increasing the complexity of her movements as she gained more confidence. She incorporated spins and twirls, using the momentum to transition smoothly between attacks. Over time, she developed a series of techniques that flowed seamlessly from one to the next, creating a dynamic and fluid style that was all her own.
Kaminalara's dedication to her new technique paid off. She found that not only was she able to create effective forms for the dual-headed naginata, but she was also improving her overall martial arts skills. The process of inventing and refining her techniques enhanced her understanding of balance, timing, and spatial awareness. Each session brought new insights, and she continued to refine and perfect her moves, always seeking to push the boundaries of what she could achieve. Through this innovative approach, Kaminalara turned a challenge into an opportunity, transforming what could have been a period of stagnation into a time of creative growth and discovery. Her self-created dual-headed naginata techniques became a testament to her ingenuity, resilience, and unwavering commitment to mastering her craft.
Kaminalara made her her own family, the Mocalásku family meaning "Power and love" in Slovak. She hopped in the family she would be able to have siblings she could get along with. There was no parent to the family and she had one younger sister in the family that she made. Despite this the young woman was determined to grow the family as a place for others that didn't feel they belonged anywhere else.
At 19 she would have come up with a name for her martial arts style, "Ryōga-Ryū" and she began to develop techniques for this martial arts style. The first stance she made was called Shinrai no kamae (Stance of the Divine Thunder) and in the stance the user stands with feet shoulder-width apart, knees slightly bent, and the dual-headed naginata held horizontally and the left side pointing up and forwards and going across Infront of the body with the front blade facing down. The left hand grips the center of the staff, while the right hand is slightly above it, allowing for quick adjustments. The first more was called "Sandāsupin," in this move the used would do a horizontal slash from their own top right to bottom left with the forwards blade then taking the left hand off from the handle before using it to push the staff round to hit with the second head whilst stepping to the side so the used does not slash themselves before stepping back and switching the hand placement to get back into stance but now with what would have been the blade pointing back now pointing forwards. The second move "Raiho no Uchi," in this move the user first rotates the staff so the front blade faces upwards. The user the thrusts the blade forwards into the opponent's stomach area before quickly withdrawing it out and moving the blade down then doing an upwards slash to the body. The third and current last move for the "Ryōga-Ryū" is "Kaminari no Yoru" In this the naginata is rotated so front blade is facing upwards, the user the used the back side of the blade where it is dull to sweep the legs of the opponent the quickly raising it up to the blade up and placing at the opponents neck.
At 21 she began to make a new stance, Kaze no kamae (Stance of the Wind) this stance is light and fluid, with the practitioner keeping their weight on the balls of their feet as they are in a low down stance, ready to move in any direction. The naginata is held loosely, with the blade held horizontally at the left side of the user with the front blade facing down and it pointing towards the opponent. The first move of the stance would be "Sora no Mai" and in this move the user would spin the naginata so the blade is upwards before doing an upwards slash to the opponent before backing off and returning to the stance. The second move of this stance is "Amatsukaze" where the user thrust the naginata forwards into the opponents stomach before lifting there right leg up and getting into a side on position then hopping forwards whilst pulling out the naginata then launching a side kick at the opponent to gain distance.
SECTION 2: Self-Knowledge Details
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"Had to look up what most of these where... I still got a lot to learn I guess."
What duties do Shinto Priests and Maidens have?:
Their duties encompass a wide range of spiritual, ceremonial, and administrative tasks. Shinto Priests have duties such as Conducting Rituals and Ceremonies like performing daily and seasonal offerings to the kami to maintain their favour and ensure the kami's blessings. Priests may also lead major Shinto festivals and/or ceremonies such as weddings, funerals and purification rites. Priests also maintain the shrine by overseeing the upkeep of the shrine's physical space, including cleaning and performing purification rituals to ensure it remains spiritually pure. They also handle and care for sacred objects and symbols used in rituals. Priests can also offer Spiritual Guidance such as counselling, exorcisms or purifications. The priests may also have educational Roles like educating the community about Shinto practices. Shinto Maidens duties may include Assisting in Rituals in both preparation and participation by setting up offering or cleaning the sacred space and assisting priests in performing rituals often including traditional dances. Their duties may also include engaging in traditional practices such as omikuji (fortune-telling) and they may provide written fortunes to shrine visitors. They may also perform ritual dances and songs that are believed to invoke the presence of the kami and purify the space. Maidens often assist and great visitors to the shrine and may sell amulets and talismans or other items that may bring good fortune or protection. Maidens duties often so include daily maintenance of the shrine such as performing regular cleaning to ensure the shrine's facilities remain clean and sacred. Their daily maintained may include assisting in preparing and presenting offerings to kami. Both priests and maidens play vital roles in the shrine running ands its effectiveness.
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What are the steps needed to be taken at the purification trough before entering the Shrine?:
Before entering Shinto shrine visitors traditionally perform a purification ritual at the purification trough to cleanse themselves spiritually. First someone would approach the purification trough remaining quiet and respectful. Next they should pick in the ladle provided also known as a "hishaku" usually made of either bamboo or metal and is used to scoop water from the trough then using that pour water over their left hand first. This is done by holding the ladle in their right hand and letting the water flow over their left hand then they should switch hands and do the same. Then the person should use the ladle to pour a small amount of water into their left hand and then should gently rinse their mouth with the water, making sure not to swallow it. Spit the water out beside the trough, not into it. After rinsing their mouth, they use the remaining water to rinse the ladle itself. They should the ladle upright to allow the water to flow over the inside and outside surfaces and then should place the ladle back in its holder/designated position in the trough.
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How are offerings to a Kami performed?:
Offering to a kami is a key practice in Shintoism, also known as "shinsen" and are a way to show gratitude to the kami, seek their favor and maintain a harmonious relationship with them. Before approaching the offering box, the person should bow respectfully. This shows reverence and acknowledges the presence of the kami. The person should step forward quietly and approach the offering box (saisen-bako), which is typically located in front of the main hall (honden). If they are offering food, sake, or other items, they are usually presented on a small table or tray (sanbo). The person should lay the offering in the designated area, typically in front of the main shrine building or on an altar. After making the offering, bow deeply twice to show respect and humility before the kami. Clap your hands twice, known as "nijireihakushu" (二礼二拍手). This action is meant to call the attention of the kami and express the persons presence. After clapping, hold your hands together in a brief pause. This is a moment for silent prayer or meditation, where the person can make a personal request or express gratitude. The person should finish the ritual with a final deep bow. This completes the formal part of the offering and shows their continued respect as they conclude their interaction with the kami. At some shrines, there’s a bell or gong (suzu) hanging above the offering box. If present, gently pull the rope to ring the bell after the initial bow or just before the final one. The sound is believed to attract the kami’s attention. After the final bow, take a step back before turning away from the shrine. This shows respect by not turning your back directly on the kami. The person may bow once more upon leaving the shrine grounds as a final act of respect.
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How do you perform a tea ceremony ritual?:
The tea room (chashitsu) should be meticulously clean and free of distractions. The host prepares the space with great care. Essential items include a tea bowl (chawan), tea whisk (chasen), tea scoop (chashaku), tea container (natsume for thin tea or chaire for thick tea) and a kettle (kama). These are placed in a specific arrangement that follows tradition. Fresh, soft water is heated in the kettle, preferably over a charcoal fire. The matcha is sifted and measured into the tea container. The host greets each guest with a bow as they enter the tea room. Guests are expected to bow in return and express their gratitude. Before entering, guests often rinse their hands and mouth at a stone basin (tsukubai) outside the tea room to symbolize purification. Guests enter the tea room in order of seniority, bowing to the tokonoma (an alcove in the room often displaying a hanging scroll or flower arrangement) as a sign of respect. The host usually explains the significance of the displayed items in the tokonoma. Guests may take a moment to appreciate the art or flower arrangement. The host ceremonially cleans the tea bowl, whisk, and scoop using a cloth (fukusa) in precise, deliberate movements. This is done in full view of the guests. The tea bowl is warmed with hot water, then dried. The host uses the chashaku to place a measured amount of matcha into the tea bowl. Hot water from the kettle is ladled into the tea bowl. The host uses the chasen to whisk the matcha into a frothy consistency for thin tea (usucha) or a smooth, thick consistency for thick tea (koicha). The host serves the tea to the guest of honour first. The guest bows and then receives the bowl with both hands. he guest rotates the bowl slightly to avoid drinking from the front (the most beautiful side), takes a sip, and admires the bowl. The guest then wipes the rim with a napkin (kaishi) before passing it to the next guest. After finishing, each guest expresses appreciation to the host and the next guest before passing the bowl along. In ceremonies where thick tea is prepared, guests share the same bowl. The guest takes a sip, wipes the rim, and passes it to the next guest. The host cleans the tea bowl and utensils again in front of the guests, symbolizing the conclusion of the ritual. The host returns the cleaned utensils to their original positions. The host and guests exchange bows as a sign of mutual respect and gratitude. Guests exit the tea room in the reverse order of entry, often pausing to once more admire the tokonoma. Before leaving, guests express their final thanks to the host for the experience.
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Explain what a Tamagushi, Ofuda and Kagura Suzu is and what they're used for:
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A Tamagushi is a sacred offering used in Shinto rituals, typically made of a sakaki branch (a type of evergreen tree) adorned with strips of white paper (shide). The sakaki tree is considered sacred in Shinto and symbolizes purity and the connection between the human and spiritual worlds. Tamagushi is offered to the kami during Shinto ceremonies as a gesture of respect and reverence. This is done in various rituals, including weddings, festivals, and other religious observances. The act of offering a Tamagushi is also seen as a purification ritual, helping to cleanse the participants and the space where the ritual is performed. During a ritual, the person making the offering (which can be a priest, a worshiper, or an important participant in the ceremony) will approach the altar, bow, and present the Tamagushi by placing it on a special stand or directly in front of the shrine. This is often accompanied by a prayer or silent contemplation.
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An Ofuda is a type of paper or wooden talisman issued by Shinto shrines, bearing the name of a kami or the shrine itself. It often includes sacred inscriptions or symbols and is considered to be imbued with the power of the kami. After receiving an Ofuda, it is placed in a prominent or sacred spot in the home, such as in a kamidana (a home shrine), on a wall, or near the entrance. It should be treated with respect and not be placed on the ground or in a low, unclean place. Ofuda is primarily used for protection. People place these talismans in their homes, cars or places of work to invite the blessings and protection of the kami into their daily lives. In addition to protection, Ofuda is also believed to bring good fortune and health to those who keep it. Typically, Ofuda are renewed annually. The old Ofuda is returned to the shrine, where it is respectfully disposed of through a ritual burning, and a new one is obtained.
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Kagura Suzu refers to a set of bells used in Shinto ritual dance (Kagura). The instrument typically consists of a handle with several small bells attached, often arranged in three tiers. The sound produced by the Kagura Suzu is clear and resonant, adding to the spiritual ambiance of the ritual. Kagura Suzu is used in Kagura, a traditional dance performed to entertain the kami during Shinto ceremonies. The dance is often performed by shrine maidens and is meant to invite the presence of the kami, purify the space, and bring blessings. The sound of the bells is believed to purify the area and the participants, driving away negative energies and inviting positive spiritual influences. The shrine maiden or dancer holds the Kagura Suzu by its handle and shakes it rhythmically during the dance. The sound of the bells complements the movements of the dance, creating a harmonious and sacred environment that enhances the ritual's spiritual efficacy.
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(OPTIONAL) Based on your character; which other Kami would they worship?:
My character would also worship Inari the Japanese kami of foxes, fertility, rice, tea and sake, agriculture and industry as she visited the Fushimi Inari-Taisha Shrine often when she lived in Kyoto and this was the head shrine of Inari. Inari is sometimes seen as a collective of three or five individual kami. Inari appears to have been worshipped since the founding of a shrine at Inari Mountain in 711 CE, although some scholars believe that worship started in the late 5th century. By the 16th century, Inari had become the patron of blacksmiths and the protector of warriors, and worship of Inari spread across Japan in the Edo period. She would worship this kami often in hopes of good harvest so she could enjoy food, sake and so the foxes of Inari would watch over her.
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