Also spelled as Tai Chi Chuan, is the art of connecting the sword to the body as an extension of oneself
Innately, Chun Yan acquires the extension of an instrument to her body as “The Heavenly bind”, contrary to her adoptive son’s ability “Heavenly hand of defense”, Chun Yan specializes in connecting the weapon and artillery used in fight to the fighter itself to create a bond ensuring an instantaneous transition of thoughts between weapon and mind. As such, Chun Yan’s reflexes are supernatural, and her martial arts skill surpass the Ancient Era masters tenfold. Chun Yan also incorporates Tai Chi, Baguazhang, and Xing Yi Quan in a martial art named Liuhebafa. Translating directly to the “Six harmonies and Eight methods.”
Chun Yan calls for her sword to blitz forward rapidly, then conjure afterimages that distort the enemy’s perception of the weapon’s positioning. The tip of the blade harnesses enough raw power through her body’s Chi to shatter bone with one swift hit.
Chun Yan enters a deflective state, where one edge of her Jian absorbs all incoming kinetic / spiritual energy from a strike, then arms the other edge of the blade with the same equal force. Resonating with Chun’s Chi, it maximizes output through the utilization of the “Perfect moment”, striking the enemy at their utmost vulnerability.
Chun Yan enters a swift dance, her Jian delivering almost lightning blows to the head, abdomen, and the back of the knee of an opponent. In such quick succession, the places of the assault disturb the opponent’s Chi and reverses it, giving them a momentary disorientation in their movement in a similar style to a concussion.
Chun Yan braces her blade and steps forward, then lingers for a second to gather all her body’s Chi into one pinpoint area of flow within the edge of her blade. Afterwards, she descends her blade onto the adversary alongside a dash of her body forward, releasing all harnessed energy into one singular blow known as the Old Turtle Render.
The Jian of Chun Yan extends forward to transform into a Shuangshou Jian, A longer and sharper variant of it. And then, her feet dance forward in a waltz, where her blade cleaves away at the enemy freely in a series of unrestricted movements. Allowing the sharpest ends of her blade to aim for all the opponent’s vitalities. Chun Yan’s final step of the waltz is called “The Lunar Halo”, Descending the blade earthward to rend the opponent into a perfect half akin to a leaf.
Chun Yan harnesses all of her Chi into extending the range of her instrument, once more transforming it into a Shuangshou Jian, and then cleaves forward in over 15 meters of range. The cleaves cut through steel and stone the like, and are repetitive in nature. She only awaits a second before it comes swift as the judgment of the emperor.
The Perfection of the above technique, aptly named “Tai Chi”, Results in the embodiment of the antagonistic movement of “Yin” and “Yang”, where one’s body becomes at complete equilibrium with the surroundings. At short, Chun’s body flows as perfectly as the water, hitting her becomes an almost impossible feat at such without the usage of ulterior techniques. Her speed rapidly increases as the dance goes on, and then all the kinetic force gathered from the constant change of the Chi parameter within her limbs can be utilized to extend two distant and intertwining cleaves from “A black blade with a white handle” and “A white blade with a black handle”, representing the duality of Yin and Yang and the stage of perfection. When the “White Cleave” and the “Black Rend” cross a body, they release a fissure caused by a Chi overflow within one’s body.
Bagua Zhang, also spelled Ba Gua Zhang, means Eight Trigram Palm. It is the most distinctive Chinese internal martial arts, as practitioners walk around in a circle as they practice their movements, following the shape of the bagua or eight trigrams, used in Chinese divination, philosophy, and magic.
Bagua Zhang combines circular footwork with striking, kicking, throwing, and grappling techniques. Weapons training includes the straight sword (jian), double sword (shuang jian), saber or broadsword (dao), hook swords (gou), and other traditional Chinese weapons.
Chun Yan’s mastery over Bagua Zhang allows her to extend the blade that she wields allows her to disarm her opponents even if she has no weapon to boost. The martial art’s main focus being in the closer vicinity and more explosive movements. Of course such movements come in many forms, aptly named after the phases of the moon.
The utilization of both arms in quick, rapid strikes.
The utilization of both legs in quick, rapid strikes. Inspired by Chun-Li’s Hyakuretsukyaku
The utilization of the Eighth limbs, the knees and the elbows.
The utilization of short form grapples into submission positions, leading to breaking of limbs or tapping out.
The utilization of arms in long sweeps of movements, such as long winded strikes.
The utilization of legs in long sweeps of movements, such as a ground sweep or roundhouse kick.
The utilization of the Eighth Limbs in defensive measures.
The utilization of grappling techniques aiming to permanently decapitate an opponent.
Chun Yan utilizes the flow of her body’s Chi to flow offensively, causing the shift of her rhythm to increase and hereby her speed to grow exponentially in comparison to her opponent. Her strikes increase in pure strength proportionally with her speed, This form’s only limit is the superhuman limit of a body speeding up so fast that it begins to combust from the inside from the amount of kinetic energy kept within.
Chun Yan decreases the strength of her outgoing motion by reversing the flow of the Chi within her body, Inclining her movements to a smaller range of motion and increasing her body’s strength. Joining both arms upon her chest, she can avert one certain death event for the duration of the Ability’s sustainability. Due to her exponentially growing defense, the slower she becomes, the more her durability increases - Until she becomes an immovable object.
Chun Yan perfectly utilizes the flow of Chi within her body, reversing and advancing the movement of the energy between every single fiber of her muscles at will. As a result, she can instantaneously switch between the two extremities of the Left and Right hands of Heaven at will. When reaching a state of perfect flow, or the instantaneous switching between left and hand causes the ability to be able to utilize both at the same given moment.
Godlike Strength | Chun Yan possesses strength from the Golden age, seeing as to how she is a spirit in the Valhalla. Chun Yan possesses the same strength as her predecessor, Qin Shi huang. In her mortal life, she would be able to break bones with a single swipe of her hand, and now her strength increased tenfold. |
Godlike Speed & Reflexes | Chun Yan possesses greatly increased reflex speeds from the Golden age, seeing as to how she is a spirit in the Valhalla. In her normal life, she would be able to dodge arrows with relative ease, now buffed to accommodate her state. |
Godlike Durability | Chun Yan possesses Durability from the Golden age, seeing as to how she is a spirit in the Valhalla.Chun Yan’s ability to withstand strikes reflects on her heavenly hand of defense technique. |
Indomitable Will | Chun Yan’s will is almost completely indomitable. Seeing as to how she’d rebelled against all and any that picked on her students and disciples, carrying them from the depths of the trenches to being as high as the Emperor of China, and not once faltering. |
Enhanced Charisma | Chun Yan’s charm and sex appeal, alongside her will, creates for an aura of charisma that is greatly enhanced than the common man. Seeing as to how she managed to bring back Qin Shi from the depths of despair about himself into the state that he is in. |
Drive by wrath. | One of Chun Yan’s drives, generally, is her desire to be righteous. Proven multiple times as she stood for no one touching her disciples or mocking them in any way, shape or form. Such anger fueled her to push Qin, whom she’d considered her son, to the highest of his limits. |