I'll put this in a threadmark in one of the reserved posts up front, I mainly wrote it up for funsies. Also lol, lmao even, the vote's still tied. Dice rolling it is! Even is Eddie, odd is Jail.
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Thundering Bell Kung Fu
"Everything that exists is merely a condensed form of motion, loudmouthed child. The words you speak, the ground you walk upon, and the flesh you wear are all subject to the resonance of the universe. To disrupt or cease this rhythm means death, as certain as it is painful. To know this is to grasp the secret of our style."
- Onyx Chain, Grandmaster of Thundering Bell and last of the Xuan-Tai tribe of the Nightshroud desert
Like many schools of kung fu, the origins of Thundering Bell are clouded in mystery and hearsay, which isn't helped by its current rarity. Some historical records claim that the style has its roots in the echolocation-based combat art of the long-dead Xuan-Tai empire, which the snakemen used to coordinate their troops in the permanent dark that blankets their home. Others contend that it was a gift to mortalkind from the ancient dragon Ferraxus, who was saved from a band of greedy assassins by a purehearted young girl. The slumbering dragon was awoken by the fervent, clarion cries of warning the girl gave, and after disposing of the ne'er do wells, taught her the trick to perceiving the song of creation. In return for such a gift, the girl returned to Ferraxus' cavern every year and sang to him of the world outside, earning his favor for her people for generations after.
A third, more popular, legend holds that the style comes from the great song-sage Leen Ardkohan, who meditated atop a perilously thin spire of ice and rock for fifty years in search of enlightenment. When he at last came down from his mountain, he could allegedly reshape the world around him merely by speaking, and the few sentences he did utter became gospel for generations afterwards. This has been disputed by some scholars, who point to records indicating that Leen had removed his own tongue to adhere more strictly to a vow of silence some years earlier. How, then, could he have spoken?
Whatever the truth of its origin, Thundering Bell is a style that has been passed down for many years, passing through many cultures and peoples, picking up a little more from each successive master. The core of the style, however, remains unchanged - Thundering Bell's central method lies in the attunement of the practitioner's strikes to certain patterns of vibration, of which there are five primary varieties. When these resonances are forcefully introduced into the body of an opponent, they ripple through the flesh of the foe, causing damage far out of proportion to the force of the strike itself. Different rhythms inflict different types of harm, and in advanced techniques, multiple elements are combined, which multiplies their effects in accordance with how many are incorporated into a blow.
The nomenclature of Thundering Bell's resonances changes from master to master. The lineage that Violet Petal inherited was based off of a mix of alchemical studies and the vocal intonations of her master's people, and are listed here with corresponding terminology. There are certain ways of using the sounds of each element to bolster their presence in the body and thereby correct certain deficiencies and ailments, but as these fall under the purview of medicine rather than kung fu, they are not listed here.
Flesh: Sometimes referred to as Wood or Chitin by creatures of differing biologies, Flesh is the element of life. It eternally seeks to grow, to find new ground to claim and resources to accumulate. It is fed by the element Wind, for no creature can exist without breathing, yet also will suppress and consume Wind when present in abundance, effectively canceling itself out. The sound the Xuan-Tai people used to represent it is
shh, as with a sharp inhale through the nose. The rhythm of Flesh expresses itself in the form of Crushing - strikes infused with Flesh compress and collapse the surface struck under forceful, even pressure, making them particularly useful for collapsing the lungs of an opponent. They can also cause severe bruising to soft tissue, but are not particularly effective at damaging bones. This is because Flesh may feed off of Water, which is present in fat and organs, but is stifled by Shell, expressed in the skeleton.
Fire:Known by certain religious sects as Yolk. Just as living creatures will generate motivation and energy, so too does Flesh feed Fire, the element of explosiveness and vitality. Without Flesh to stoke it, the flames will gutter out, and exposure to Water can douse it, but when roaring hot, Fire will consume the element Wind, using it as additional fuel. The Xuan-Tai sound for Fire is
hau, like with a hefty yawn. The force expressed by Fire is Bursting, infusing its strikes with lightning-fast, devastatingly powerful force that concentrates onto a narrow point - perfect for snapping limbs, delivering concussive force, and shattering bones. Delivered to vulnerable areas or vital spots, Fire techniques cause significant damage, but if their force is spread out over a broad surface, they lose much of their potential, like how a small flame will be extinguished by water.
Shell: Sometimes, if less commonly, referred to as Stone or Earth, depending on one's view of the cosmos. Shell is the foundation of the world that holds up the other elements, and represents solidity and endurance. Accordingly, it is sustained by Fire's vitality, and will wither away without its heat and light. Excessive Wind will erode its foundations, which may be renewed by consuming Flesh, for all creatures die and return their bodies to the soil. The Xuan-Tai sound for Shell is
hoo, a deep rumble that arises from the throat. Shell's rhythm is expressed as Shaking (sometimes called Crumbling). Shell strikes and movements are particularly effective at disrupting structures and foundations in an opponent - grappling and throwing applications are thus common displays of Shell, focused on controlling the opponent's center of gravity, breaking their posture, and destroying their balance. A particularly popular method of doing so is by breaking the spine of one's enemy, as it is difficult to stay upright when you are incapable of standing.
Water: Containing both the quietude of Shell and the fluidity of Wind, Water is the calmest of the elements yet also one of the most unpredictable. Known to certain peoples as Albumen, it is supported by Shell and overcomes Fire, but will be siphoned dry by an excess of Flesh. The Xuan-Tai harmonized Water with the sound
chwoo, as though blowing out a candle. Water's expression of force comes in the form of Drilling, also known as Piercing. Water techniques penetrate deep into the body of the opponent in tight, concentrated bursts, ideal for damaging internal organs or plucking the eyes out. Advanced applications can even cause blood clots that kill the victim some time afterwards.
Wind: The most insubstantial of the elements, Wind arises from the evaporation of Water, and is perhaps the most dangerous of the five for its transient nature. When the egg that is our universe finally cracks, it is Wind from the abyssal void that shall be let in to sweep everything else away. Only when the Fire of the Crowfather has grown strong enough will the cosmic corvid be able to staunch the rush of air and fly into the unknown. Accordingly, Wind will abrade and dissolve the element Shell upon its currents, but also supports and invigorates Flesh, for life cannot arise without breathing. The Xuan-Tai sound for Wind is
ssss, the hissing of air through the teeth. Just as the relentless howling of wind will gradually tear down a mountain, the martial concept of Wind in the Thundering Bell system is Scouring, exemplified by movements that tear away at the external layer of an opponent. Tearing the skin, ripping off hair or mandibles, removing the ears or breaking the fingers are common applications of Scouring, but the principle is also found in the swiftness of more conventional strikes - an eye watering jab or snapping kick to the jaw, solar plexus, or groin all derive from Wind.
Individually utilizing the various elements and frequencies is, of course, the lowest expression of Thundering Bell. Once a practitioner is capable of utilizing all five, they may then begin to combine them, mixing and blending the principles of motion in order to either deliver multiple forces in unison, or combining them to form new elements that may only exist in that moment of synthesis. The technique Mermaid's Pot Holds The Sun, in which the penetrating force of Water delivers a burst of Fire-aspected force into the target's innards, often causing an explosive rupture of one or more organs, exemplifies the former approach, while Stabbing Lightning Finger or Iron Cleaver Hand, being Wind/Fire and Flesh/Shell hybrids respectively, represent the latter. There are a dizzying number of potential combinations, and the more elemental principles are incorporated into a single move, the greater damage inevitably results. Of course, the difficulty of such techniques also rises correspondingly - it is often seen as a sign of great proficiency to be able to use even two principles at once, and the utilization of all five can only be attained by the greatest masters of the style, those who have seen past the lens of specific techniques and may move freely, incorporating the principles of force into any movement they so choose.
There are scraps of lore that suggest that the truest level of Thundering Bell's mastery lies beyond and betwixt the elemental cycle, however - the Void between spaces that has no sound but silence, is expressed by no movement but stillness, and can be observed only in the moment of a living being's death, when the spirit vacates the body and Wind has not yet crept into the empty cavity. How this hidden non-element could be applied in terms of combat, or if it even exists as anything more than philosophical conjecture, is unknown to any but the most venerable practitioners of the style, and whatever they may know, none have spoken.
