Ichi Kenpo

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Ichi Kenpo

Statistics
User(s):	Lee Miyagi; Jenny Swift; Jon Snow; Ignis Natura; Ventus Natura; Terra Natura; Aqua Natura; Summer; Fall; Winter; Spring; Hiro Xanthe; Rukiryo; Daina; Itenka; Ice John; Scott D. Rio; Hawke; Bison; Ashura; Pantyhousetaru; Meshii Choketsu; Konsen Yamazaru; Maruboshi Renji; Ueda D. Katsu; Ayano Uesuto; Zig; Masa D. Tora;Aoi d.Mitsuki
Fighting Style Focus:	Manipulating the natural environment; mimicking animals
First Appearance:	???

Ichi Kenpo (壱拳法, Ichi Kenpo, lit. One Style) is a fighting style invented and developed by Lee Miyagi, the captain of The Warrior Pirates. Back when he was still training on Karate Island, Miyagi expressed a deep desire to find a way to fight like the fabled Devil Fruit users without having to resort to using one, as he believed using a Devil Fruit would cheapen the thrill of battle for him. What resulted was a fighting style where he could "make the world obey him," or in other words, use the natural world to his advantage in battle. Thus, Miyagi spent many years learning, practicing, and honing what would later become the main four branches to the Ichi Kenpo form of fighting. What resulted was a fighting style in which the user could generate powerful air gusts and compressed air blades, summon various forms of rock and minerals from the ground below, attack with fire, and even manipulate the water and its different states of matter, among other possibilities.

Miyagi later named the fighting style Ichi Kenpo, as his philosophy behind it, was that he was one man, with one life, living in one world, and using one fighting style at the time; and perhaps most importantly, that the fighting style allowed him to become one with nature, and achieve a total "oneness" with the world around him. As such, each of the various elemental branches gained the title "Kenpo," to denote their origins as part of the Ichi Kenpo way of fighting. The four main and basic branches became the fundamental pillars of the fighting style; Ho Kenpo (Fire Style,) Fu Kenpo (Wind Style,) Chi Kenpo (Earth Style,) and Sui Kenpo (Water Style.) From these four branches would come sub-branches, that would deviate from the standard uses of the four main branches and make use of an altered form of its very nature (such as Rai Kenpo (Lightning Style) being based on Ho Kenpo, and Hi Kenpo (Ice Style) originating from Sui Kenpo.) Likewise, combinations would later be made as Miyagi continued to improve his fighting style over time, like mixing Fu and Ho Kenpo to create Honoo Kenpo (Blaze Style.) And even then, Miyagi began to split apart what techniques were deemed acceptable to use, and which ones weren't. The acceptable techniques became known as Zen no Jutsu (Good Techniques,) and the forbidden techniques were listed as Aku no Jutsu (Evil Techniques.) The Zen no Jutsu were allowed to be used at any time the user wished, but the Aku no Jutsu were expressly forbidden at all times, unless specific parameters were met, such as defending one's life, a loved one, or a treasure close to the user or user's loved one(s.) Currently, only two entire branches have been listed under the Aku no Jutsu list; this being Doku Kenpo (Toxic Style.) and Baburu Kenpo (Bubble Style.).

While Miyagi has admitted that Ichi Kenpo isn't fully perfected, and needs fine-tuning here and there, the fighting style has proven to be downright effective in its goal to allow its users to keep up with Devil Fruit powers, and their users. And while the main focus appears to be based on manipulating the elemental world around one's self through force, the physical, hand-to-hand aspect has not been neglected either, and seems to reflect animal style Kung-Fu to some degree; especially as many of the melee techniques seen thus far have been named after different animals, whether real, extinct, or mythical. They even seem to mimic the behavior and bodily functions of the animals they're named after, such as the "Hunt of the Tiger Shark" relying on the user making fangs with their fingers, while their hands act as the shark's mouth, which then allow the user to act much like a shark biting into its prey. So far, notable users of this fighting style appear to be pirates for the most part, as the inventor and developer, Lee Miyagi, turned to a life of piracy sometime after creating the first four branches to Ichi Kenpo; while the pirate known as Hiro Xanthe not only learned the same four branches, but went on to create and master his own unique branch of Ichi Kenpo; Suna Kenpo (Sand Style.) He has also been seen continuing in advancing his skill with Ichi Kenpo over the course of his adventures.

Ichi Kenpo Techniques[]

The list of Ichi Kenpo techniques is traditionally broken down into four main branches, and then, off-shoots of these branches, which are usually referred to as sub-branches. The four main branches consist of Ho Kenpo, Fu Kenpo, Chi Kenpo, and Sui Kenpo, and thus, everything else afterward is a sub-branch or alteration of the four main branches. Additionally, each of the four main branches, and likewise, a sub-branch will usually have a kind of philosophy or teaching behind them, which must be understood in order to fully master that branch and sub-branch. And while it isn't completely necessary, these techniques can be strengthened or inhibited by the effects of Devil Fruits and Haki, which will add a further diversity to the list of techniques known.

Outside the elemental branches are also a list of hand-to-hand combat techniques, so as to allow the users of Ichi Kenpo to defend themselves at close-range or when and if their elemental techniques should fail them, through the use of more traditional melee strikes and throws. These techniques act in much the same manner as animal style Kung-Fu, as they imitate the behaviors and bio-mechanisms of the animal kingdom, which further emphasizes Ichi Kenpo's closeness to nature. Unlike the main and sub-branches, the hand-to-hand techniques have no obvious lessons to learn, and rely simply on constant practice until the techniques are completely understood. However, there is one exception, as the only teaching for the hand-to-hand techniques is to learn from the animals one is trying to mimic. Once the lesson is understood, then and only then will the user be capable of fighting like that animal.

One thing that is kept constant among the four main branches also appears to be the usage of an "Elemental" technique, in which the user cloaks themself in an armor of the respective element they're manipulating. By doing so, this gives them a greater degree of power and defense, as being covered head to toe in the element will allow them to be able to attack, block, parry, and counter enemy attacks with much more ease than without it, or if the user only used a partial portion of their body (as is the case with Ho Kenpo, and at times, Sui Kenpo.) While the four main branches seem to use this Elemental technique more commonly than the sub-branches, there have been some users of the sub-branches who showed the ability to cover themselves in their natural element, such as using the lightning from Rai Kenpo, or the ice from Hi Kenpo to encapsulate themselves.

Ho Kenpo[]

Ho Kenpo (lit. Fire Style,) like its sister disciplines, has a philosophy behind its creation and usage. When training in the forests before he became a pirate, Lee Miyagi realized he had nothing to start a fire in order to give him warmth, protection, sight, and which to cook his food with. When he found out how important fire was to humanity for its survival, he also began to realize it was one of the tools humans needed to begin civilization itself. This caused him to reflect more and more on the nature of fire itself, and in time, learned that he and other living beings were no different from it in the slightest. Fire needs air to breathe, materials to consume to stay lit, can die if it's put out, and of course, gives off heat, like how a person gives off body heat. This made Miyagi consider the element of fire to be the essence of life itself, as it acted like a living thing, and helped to create and protect the lives of others through the human inventions and concepts of cooking, engineering, heating, and so on.

Likewise, he realized while fire could help, that it could also harm as well. Thus, he branded fire as a double-edged sword that must be respected and handled carefully, as the slightest mistake in judgement may cost the user their life, as well as the lives of those around them. Fire became considered a healer, and a killer, masquerading as both at once. This delicate care to to use fire responsibly helped Miyagi to learn the first steps in how to weaponize it in its most basic of forms, heat itself. Thus, he practiced diligently in trying to start a fire with his own body. Many failures resulted in this attempt, and Miyagi was unsure whether he could do such a thing without a catalyst of some sort. Thus, he returned his focus to Fu Kenpo for a time, and tried to learn how to manipulate the air. Once he was capable of understanding how air worked, he was struck by inspiration at last, and understood that air didn't just help to prolong a flame, but that it had the potential to create them as well.

What resulted was the birth of Ho Kenpo. Using his philosophy regarding fire, and the training he taught himself from Fu Kenpo, Miyagi learned that by applying friction to his body in a manner similiar to Sanji's Diable Jambe, he could cover his body in pure heat. And once that was accomplished, he could use that intense heat to create his Ho Kenpo techniques. Later on, after growing accustomed to Ho Kenpo, Miyagi stumbled upon the idea of applying Haki to it, which could then transform the heat into raging, controllable flames. Furthermore, as the flames were imbued with Haki, this gave them a bit more of a solid substance, and could make them effective against Devil Fruit users, as well as allow him to control their size, width, length, and shape, in order to create more diverse Ho Kenpo techniques.

Vulcan Fist: This technique earned its name, largely in part due to the Roman god of volcanoes, Vulcan, and due to it being activated by the user thrusting their fist outward. By doing so, the heat on the user's fist comes into contact with the air, and the fist then pushes the air outward. With the air filled with the user's generated heat, it quickly becomes a large column of flames that spread out for several feet in front of the user, burning everything in its way. The effect is something comparable to that of a flamethrower created from the user's arm.

Meteor Bullet: Named after meteors, which burn up in the atmosphere and look like fireballs, which is what the technique resembles; and bullets, which is what the technique acts like. As opposed to unnecessarily heating up large portions of the user's body, this technique merely relies on the user's fingers taking on the heat needed for the technique to work. Once heated up, the user then snaps their fingers, which causes sparks to form. These sparks, when fired at extreme speeds, become small embers that travel through the air at speeds rivaling those of standard bullets. Normally, one or two embers at a time do little more than cause serious burns on small portions of an opponent's body, so the user must usually fire a large volley of embers in rapid succession to make the technique truly effective.

Whereas techniques like the Vulcan Fist and Amaterasu rely on massive damage in relatively little time, this is a technique meant more for precision and accuracy. And while its initial shots may not be all too amazing at first, over time, the accumulated damage can become impressive. A testament to the Meteor Bullet's effectiveness was when it once melted an entire boulder with nothing more than a small shower of embers. Likewise, it is one of the faster Ho Kenpo techniques, and is used for landing quick blows on an enemy in relatively little time.

Dragonbreath: Named after halitosis, or "morning breath," which in ancient times, was called "dragonbreath" or "dragon's breath" due to the horrid smell. After heating up the entire head and face by applying friction to the area, the user takes a deep breath before exhaling a large jet of flames from their mouth. While it appears the technique is a form of literal fire breathing, in reality, the user is applying the same methods found in the Vulcan Fist technique to their mouth. The air they exhale becomes superheated due to the heat covering their face, which then becomes flames that fly out in a straight line from the user's mouth, and like all other Ho Kenpo techniques, burns whatever it touches. The technique bears a striking resemblance to the Vulcan Fist technique, but seems to be thinner in range than the latter. Additionally, the Dragonbreath technique allows the user to keep their hands free for countering, blocking, or parrying in the meantime, among other things.

Agni Kick:

True Vulcan Fist: Named after the Vulcan Fist technique, and because it's considered an improved, or "true" form of the technique. One of the first few techniques to be created after Lee Miyagi learned to use Haki to transform generated heat into fire, this technique requires the user to coat their affected arm in Busoshoku Haki to do the same. Once the arm is engulfed in Haki-imbued flames, the fist is then thrusted out in the same manner as a standard Vulcan Fist. By performing the earlier requirements beforehand, the Vulcan Fist becomes larger and wider in form, making it much more powerful than the common Vulcan Fist. Additionally, the presence of Haki makes it effective in harming Devil Fruit users, making this a potentially dangerous technique.

Fire Field: Named for the large, wide-spread field of flames it creates, this is another one of Miyagi's Haki-infused Ho Kenpo techniques. Normally used by one or two arms simultaneously, and once set alit, the user thrusts their fist(s) down to the ground, and forces their Haki outward, which then pulls the flames with it. This causes a dome-shaped flame to spread out in every direction from the user's location, which then can burn and damage anything within the technique's large 20 foot radius. This technique tends to leave the ground bathed in flames or burnt and/or partially molten terrain, which is a clear reference to the technique's name.

Amaterasu: One of the stronger Ho Kenpo techniques, it is named after the Shinto sun goddess, Amaterasu. Relying on the user's Haki to form the flames necessary to make it, it takes a form and size very similiar to that of Ace's Dai Enkai: Entei technique. Being roughly about 20 times the size of the user's own body, and filled with Haki-infused flames, the Amaterasu technique is meant to cause as much damage and destruction as possible, and as such, is usually used as a finishing move in battles. Miyagi mentioned that this technique was difficult to create, let alone perfect, as it requires an intensive amount of Haki to pull off. As a result, those who have weak wills tend to be unable to create such massive fireballs on their own, or end up becoming unable to use the technique at all. Therefore, it is explicit for Ho Kenpo practitioners to have tremendous willpower in order to wield the Amaterasu.

True Agni Kick:

Absolute Vulcan Fist: Perhaps the most powerful incarnation of the Vulcan Fist technique, it is named after the attack, and given the prefix of "absolute;" denoting its great power and destructive potential, especially in comparison to both the Vulcan Fist and the improved True Vulcan Fist. Like the True Vulcan Fist, the technique requires heating the user's arms, wrists, and hands to scorching degrees through increased friction, and then applying Haki to the affected area to produce flames. However, unlike the True Vulcan Fist, which is used with only one arm at a time, the Absolute Vulcan Fist uses both of the user's ignited arms at once, thus creating a wickedly massive stream of Haki-imbued fire. Being bigger and wider than the True Vulcan Fist, the Absolute Vulcan Fist can stretch out for quite a good while before reaching its limits, and it has shown the capability to gouge out large sections of the surrounding terrain, such as leaving behind large grooves in the ground, or wiping away multiple buildings in one strike.

Any earthy landscape that comes into contact with the wave of flames soon becomes similiar to molten rock (though not quite lava yet,) and any water that comes into contact with it tends to boil furiously. The temperature can also dramatically rise unexpectedly, making the affected area much warmer and more humid. Locations that have been changed by the effects of the Absolute Vulcan Fist can also sometimes leave behind a sea of flames along the ground. And while the technique is incredibly powerful and more useful in comparison to its predecessors, it's also much more dangerous, as it easily reflects the double-edged sword aspect of Ho Kenpo. This is because the incredible size and power of the technique can accidentally harm both friend and foe alike, and can needlessly destroy anything nearby. This makes it difficult to use in every situation, as there will be the risk of burning something or someone the user doesn't wish to harm or destoy. Thus, extreme caution and clear judgement of the situation at hand must be used carefully before attempting the Absolute Vulcan Fist.

Furthermore, due to the risks involved, the Absolute Vulcan Fist has been listed as an Aku no Jutsu (Evil Technique,) making its usage even more restricted. Therefore, only when the user is defending their life, the life of a loved one, or an invaluable treasure, may they use the Absolute Vulcan Fist.

Absolute Agni Kick:

Fu Kenpo[]

Fu Kenpo (lit. Wind Style) is a form of fighting that was created alongside Ho Kenpo for a time, but was developed entirely on its own later. As Lee Miyagi was unable to fully get the hang of creating Ho Kenpo, he turned to the creation of Fu Kenpo for inspiration. During his time in the forest, he noticed how even when he was surrounded by thick and numerous trees, there were still noticeable breezes passing through the forest; whether down near the ground, or high up overhead. This made Miyagi think about the nature of wind and the air, and wondered, why was it that it could go almost anywhere, and be free of restraints? When Miyagi realized that the air possessed a sense of freedom that the other elements lacked, he marked the air and wind as the element of freedom. The freedom to go anywhere, and be anywhere it wanted to be. It could go down to the ground, or ascend high into the heavens; it could fly across the open seas, over the daunting mountains, through the steepest canyons, and so much more. When met with resistance, it would simply move around the obstruction and carry on as if nothing had happened. It was truly a difficult element to pin down.

Miyagi spent a long and arduous time trying to make use of the air, as it would never "obey" Miyagi's "commands." When he tried to push it, the air would fly around his hand, instead of away. When he tried to grab it, it would pass through his fingers. And so, Miyagi trained his body to reach superhuman degrees of strength, so that he could forcefully take control of the air and its passive movements. As a result, many fighters who use Ichi Kenpo tend to prefer to follow Miyagi's example, and condition their bodies to be strong enough to push the air on their own. This forcefulness was effective for a time, as it helped to create techniques like the Eagle Strike, and its variation, the Eagle Flock, simply by using the same methods found in the Rokushiki techniques, Rankyaku and Geppo. However, over time, Miyagi used his superhuman strength in combination with his Busoshoku Haki to make the air's free movements work for him, instead of trying to fight against it like before. By making use of its abundance, and instead of trying to muscle his way into fully creating Fu Kenpo in earnest, Miyagi was capable of inventing much more powerful techniques, such as the Current Cannon.

Users of Fu Kenpo tend to use both styles of air manipulation to make the best of their given situation, and to give themselves a greater variety of techniques to use. As such, users of Fu Kenpo throw their strength around in order to generate powerful, compressed breezes in the form of air balls, air slashes, and other such shapes, as well as using their Haki to grasp the air and create more diverse techniques, as well as to give their attacks extra power and control.

Eagle Shot: Named after eagles, the largest living birds of prey, and for the fact that it shoots a ball of air meant to injure and damage the intended target. This being one of the very first Ichi Kenpo techniques to be created, it's rather simplistic in how it's performed. If the user has enough superhuman strength required to pull off the Eagle Shot, then all they need to do is throw a punch out in front of themselves, and the power of the thrust will push the air in front of it, creating a compressed air ball that will fly in a straight line towards the target. The damage is fairly average, as the speed of the air ball is great, but its size is comparable to that of the user's fist. This makes it a fast, easy technique that even beginning practitioners of Fu Kenpo can learn and master. As a result, it's rather common and used in battles for when a simple technique is preferred over the bigger, more dramatic techniques. The damage dealt seems to be roughly equivalent to the strength of the user's punch, which implies that stronger users of the Eagle Shot can create stronger, more potent air balls than those who have the bare minimum required strength to perform the Eagle Shot.

Current Cannon: A rather impressive and flashy Fu Kenpo technique, that also holds a great deal of power. It is named after air currents, which the technique resembles to some degree, and cannons, which may indicate what its strength is like. This technique was created when Lee Miyagi first began to apply Haki to Fu Kenpo, making it the first Haki-infused Fu Kenpo technique. To perform the Current Cannon, the user gets into a traditional, initial stance, where they cup their hands together to their side. Next, after infusing their hands with Haki, the user begins grabbing at the air near their hands, and spins it until it becomes a compressed, spinning ball of air in the hand's palm. After the stance is formed, and the air ball has been created, the user will then thrust both of their hands out in front of them, pushing the air ball out towards their opponent. When performed correctly, the Current Cannon leaves a long trail of pressurized air behind it, which makes the technique appear as if it were a long tunnel of howling winds. Some air is pushed back as an after-effect of the tunnel's formation, though it seems to only be for show. The trail of wind becomes the driving force of the Current Cannon's strength, as it appears to be powerful enough to carve a long groove into the ground below it, when fired at ground-level. Also, as it is a non-stopping current of air, the technique is capable of toppling over many unsupported people and objects alike, and blowing them away into the distance. It's capable of shattering thick stones and buildings, and can even be used to propel the user through the air at great speeds as opposed to being merely used for violence.

Wyvern Shout: Named after wyverns, a type of forearm-less, avian dragon (as well as being a shout out to Wyvern 0m3g4's username,) and the act of shouting, which it bears a striking resemblance to. This technique is notable, as it requires little force or Haki control to perform, and simply needs a strong set of lungs. Much like Ho Kenpo's Dragonbreath technique, the user first takes a large breath of air before starting, and then exhales a massive amount of air from their mouth. Unlike Dragonbreath, which becomes a thin jet of flames, the Wyvern Shout appears as a wide-sweeping gust of air, which has the potential to push back and blow away anything within reach. The air is quick and swift, making it similiar to a the strength of a weak tornado, or an intense breeze; however, its wide range spreads its power over a large area, and as a result, it lacks a true, distinct punch that techniques like the Current Cannon possess. Nevertheless, it is effective in freeing the user's hands for necessary objectives, and can be useful in defending the user from anything they don't wish to be near, such as an opponent's attack or weapon.

Eagle Flock: Named after the basic Eagle Shot, and for a flock of birds, this is considered an improved version of the Eagle Shot. Like the Eagle Shot, this technique is rather simple to perform and use, as all the user needs to do is have tremendous strength, and punch the air in front of them to create a compressed air ball. However, as the name impies, this technique varies from the Eagle Shot, as the user uses both of their fists to create a continuous flurry of compressed air balls, with which to overwhelm the enemy. Like the Eagle Shot, the power of the technique relies on the user's overall physical strength, and so it grows stronger as the user's physical might grows as well. More importantly, is that the Eagle Flock is capable of building up damage over a short amount of time, like Ho Kenpo's Meteor Bullet technique. This helps to compensate in some way for the standard Eagle Shot's rather mediocre performance when compared to other Fu Kenpo techniques, and Ichi Kenpo techniques altogether. However, as the user must focus on throwing a volley of punches over the course of an indeterminate amount of time, the Eagle Flock technique tends to have a slightly slower recovery time than the original Eagle Shot, which helps to make the Eagle Shot desireable in certain circumstances.

Wind Road: The Wind Road technique gained its name after the wind that's manipulated and used in Fu Kenpo, as well as for the fact that it allows the user to travel on the air as if it were a road or path. Much like Sui Kenpo's Tidal Path technique, the Wind Road technique requires strong leg muscles to keep the user aloft in the air, so as to cross it much more easily. Due to the way in which the Wind Road is used, and how it performs, it is more like the Rokushiki technique, Geppo, rather than its own invented technique. As such, there isn't all too much that needs explaining, as the Wind Road technique can allow the user to jump off of the air in the same manner as a Rokushiki user who uses Geppo.

The only major difference however, appears to be that while Geppo users have yet to show the ability to stay still permanently in the air, those who use Wind Road can furiously and consecutively kick their legs repeatedly at the air multiple times, thus keeping them suspended in mid-air indefinately, while at the same time, giving off the impression that they are standing in mid-air. However, as noted, this is only an optical illusion, as the user must quickly keep their legs in motion at all times to perform this trick, and so if a person were to get too close to a "standing" Wind Road user, the user's legs may accidentally slam into the person, and drive them downward to the ground with a violent kick. It's been said this technique was created after Lee Miyagi witnessed a Rokushiki user perform Geppo in their fight, and thus he tried his hardest to copy the technique, and eventually improve on it. However, as he never learned the name, or had forgotten about it, he created the technique's new name, "Wind Road" to compensate for his lack of knowledge on Geppo's origins.

Chi Kenpo[]

Chi Kenpo (lit. Earth Style) was formed once Lee Miyagi felt confident in his abilities in using both Ho and Fu Kenpo, and as a result, decided to leave the forest he trained in for the mountains, where he would teach himself how to become one with rocks, minerals, soil, and in general, the very earth and ground itself. At first, Miyagi was clueless as to how to manipulate the earth without having to bend over and pick it up with his bare hands himself. And as a martial artist, he understood this would have been a waste of time and effort, and would allow his opponents to get the better of him in a fight in no time. Out of desperation, Miyagi relied on simple and barbaric stomps from his feet in order to manipulate the earth at first, which only created very simple changes in the ground's surface. This made Chi Kenpo a rarely used discipline back when Miyagi first started using Ichi Kenpo in battle. However, over time, he remembered that he had a philosophy regarding Ho and Fu Kenpo, and decided he should think more carefully about the very nature of the earth itself. This resulted in the creation of what Miyagi would call, the "true Chi Kenpo."

Miyagi figured, that in order to make the best of Chi Kenpo, the user would have to have a better "communication" with the ground beneath them. And so he thought about how one could talk to the ground, and relay their feelings and wishes to it. In time, it finally hit Miyagi, that he, like other people, came into contact with the earth through his feet more often than any other part of his body. And because of that, he needed to "communicate" with the earth "through his feet." What this meant, was to stress the importance of graceful and fine-tuned footwork, in order to "get through to the earth." Miyagi saw the earth and the ground as stubborn and unflinching. Mountains would protrude high into the air wherever they pleased, and would only move if someone stronger than them tore them down. The earth would retain its shape and location no matter what, and would only change when it felt like it, or was fiinally "coerced" into moving. So Miyagi classified the rocks, soil, dirt, minerals, gems, and the ground itself as the element of stability. As such, Miyagi needed to find a way to "coerce" the stable earth below him, and so he found the answer in his highly planned out foot movements and stances.

What resulted was an entire discipline of fighting unlike the other Kenpo disciplines. Chi Kenpo became unique, due to its heavy focus on the user's feet. Their movement, grace, precision, stance; everything was meant to be as specific as possible, to allow the earth to "understand the different messages being sent to it." Each step and stomp, as well as the speed and point of contact on the foot were to be monitored closely at all times, in order to keep up a sense of complete clarity for which Chi Kenpo technique the user wished to perform. The intense specifics of delicate footwork became so detailed, that to the untrained eye, many of the Chi Kenpo user's steps may end up looking similiar to one another, when in reality, they're all different from one another. And so, it is fairly typical to see users of Chi Kenpo use only their feet to perform Chi Kenpo techniques, though there have been certain people who have shown the ability to go past this, and perform Chi Kenpo techniques without the primary focus being their feet. This marks them as special and talented, depending on the individual in question. Also, due to Chi Kenpo's philosophy of stability, many Chi Kenpo techniques are either defensive or supportive in appearance and form, depending on what it's being used for. While this is the case for quite a good deal of Chi Kenpo techniques, there are still those that can be used for strictly offensive purposes as well, such as the Great Upheaval and True Upheaval techniques (though these can also be used for supportive reasons as well.)

Great Upheaval: This was Lee Miyagi's first created Chi Kenpo technique, and became his signature Chi Kenpo technique for a long time until he discovered "true Chi Kenpo." It is named for the impressive (or great) upheaval of the ground the technique creates. Being an early Chi Kenpo technique, it is performed rather simply. The user must merely slam their foot hard onto the ground below them, which then upturns the few inches of rock and soil beneath them in the appearance similiar to that of a flipped rug (thus, it creates an upside-down U shaped wave that rises up to a point, then lowers and settles back down into the ground shortly after.) The technique is horribly thin in width, and is meant to attack one person at a time, thus it is usually no wider than the user themself. Once the upturned ground has hit the foe, it can cause minor damage, though it seems to primarily launch the target into the air, which can then be attacked while off guard or surprised. Being considered a weaker and less effective technique, like the Fu Kenpo's Eagle Shot, the Great Upheaval technique can be easily learned and mastered by those just starting out in learning Chi Kenpo. Likewise, it has a much quicker reaction time than the more advanced techniques, and can be easily followed up by another course of action when necessary.

True Upheaval: Named after the Great Upheaval, and for the fact it's considered an improved (or "true" version) of the technique. Like the Great Upheaval, the user must simply slam their foot hard on the ground to upturn the earth beneath them. Unlike the Great Upheaval however, this technique appears to be much wider and larger, and thus, has greater potential to create damage, as well as for launching its targets into the air. Where the Great Upheaval takes the appearance of a flipped rug, the True Upheaval seems to look more like a rather large bulge; being roughly a few inches taller than the user themself. The width of the technique appears to be about fifteen times that of the user, making it more dependable than the standard Great Upheaval, but still simplistic when compared to the more advanced Chi Kenpo techniques. Like its cousin technique, the Fu Kenpo: Eagle Flock, the True Upheaval has a slightly slower reaction time than that of the Great Upheaval's, though its barely noticeable most of the time.

Barricade: Simply named after barricades, which references the technique's purpose (albeit, it appears more like a wall,) the Barricade technique is one of the earlier advanced Chi Kenpo techniques created after Miyagi learned to properly use what he calls, the "true Chi Kenpo." And so because of this, it requires precise footwork to perform, which appears to be a forceful kick from the user's heel. When done correctly, the user can then summon a large, protruding wall of solid stone from the depths of the earth. The wall is rectangular in shape, and so it is taller than it is wide, making it a not-so perfect defense. The Barricade technique is most obviously used for straightforward defensive purposes, and appears to be most effective against incoming attacks in front of the user; though this doesn't necessarily mean the user has to use it to protect their front, as they can summon the wall next to them, or even behind them as well, creating a shield to protect them at any and all sides if needed. Also, this doesn't imply that only one wall can be summoned per battle, as users have been seen to create multiple walls to box in their opponents, or to create a more proper shield to protect themselves from harm. As a result, this technique, while still simple in nature, still has plenty of use in battle when needed.

Hellmouth: Named after the mythical gates of Hell, which are usually depicted as a large, gaping monster's mouth consuming sinners and the damned. By using the "true Chi Kenpo" as stated before, the user performs a kick similiar in appearance to the Barricade's mandatory foot stomp, albeit it seems to be different somehow in nature and performance. After activation, a bulge of earth will form on two sides of the opponent (both the back and the front,) and will steadily close in on the target as it rises up to engulf them. Once the two halves have joined, it will lock the opponent underneath the singular bulge, and trap them in a prison of stone and soil. Judging from the difficulty involved to break free of the Hellmouth, it is implied that the stone used to form it has come from a lower region of the Earth's mantle, and is thus more solid and stiff than that of the crust above it. This technique is meant to hold opponents in place, and trap others in one location for an indefinate amount of time, depending on the user's whim. As such, it is less offensive, and more of a supportive technique.

Additionally, if the user wishes to, they can take it one step further and drag the opponent down into the ground alongside the Hellmouth bulge. By stomping the flat of their sole on the ground in a dominating manner, the bulge will begin to sink back down gradually, which can then make escaping even more unlikely for the prisoner. Also, while the bulge in question looks rather simple at first, it appears to have rows of spikes lining the closing and conjoining walls of the Hellmouth, making it resemble a closing jaw, and thus, resembling its namesake.

Sui Kenpo[]

Sui Kenpo (lit. Water Style) was the last of the four main branches Lee Miyagi taught himself, and while no discipline of Ichi Kenpo is more difficult to learn than the others, Miyagi appears to have made a few comments regarding how hard it was for him to learn Sui Kenpo. After training in the mountains to teach himself to "communicate" with the earth and ground for Chi Kenpo, Miyagi later headed down towards a nearby lake to train himself for the last of the four main branches. This training regimen would then take him the most amount of time to complete, as noted earlier, Sui Kenpo was the hardest discipline for Miyagi to learn. Not being of fishman or merman heritage, and simply a human being, Miyagi found it exceedingly difficult to understand how to connect with the water around him. And so, by training near a large body of water, such as a lake, Miyagi would start to come to understand the element of water, and what made it tick, as well as what it represented to him.

At first, Miyagi further improved his physical limitations by practicing martial arts while submerged and holding his breath. The water resistance was near-impossible to work with, and slowed him down by a great deal. Plus, his limited lung strength made holding his breath for extended periods of time, as well as during intense training, almost impossible to get any real results out of his Sui Kenpo training. However, Miyagi was persistant, and highly ambitious to create the final necessary key to his own fighting style, so he kept at it in spite of the difficulty. In time, his speed underwater improved, and this increased his physical strength and endurance as well. It also strengthened his lungs, allowing him to hold his breath for longer periods at a time (although he would still need to inhale once his lungs started to give out on him.) Eventually, Miyagi found himself capable of achieving the same speed and strength underwater as he normally would have on dry land, making him an equal threat on land and in water. This was merely the first step however, as the most difficult aspect was yet to come. Miyagi would later need to become one with the water, in order to weaponize it in combat.

While trying to figure out how to grasp water as if it were a solid mass, Miyagi spent much of his time in, near, and around bodies of water. He observed it carefully, and tried to feel its movements when submerged. And in time, like his other teachings, Miyagi learned just what water meant to him. It could be as vast as an ocean, or as small as a droplet. It took any form and shape it needed to, and could be found just about everywhere. It would become rain during storms, snow in cold climates, hail when it was even colder, thick ice when completely frozen, and could even become steam and gaseous vapors when heated or boiled. There was no getting rid of water, it seemed. It was pervasive, as Miyagi noticed it even existed within himself, and other living things. Where fire embodied life to Miyagi, water was the care-giver of life, which allowed it to flourish and spread all over the planet. It also acted as a necessary counter-force to the destructive nature of fire, which in turn, could fight back water when necessary. Miyagi eventually came to the decision, that after learning as much as he could from water itself, that he would label it as the element of versatility; for there was little it could not do, and seemed to be capable of adapting to any problem or situation that arose.

When Miyagi returned to trying to make the water adapt to his needs, as it could adapt to anything, he found himself in a familiar spot. Much like Fu Kenpo earlier, Miyagi was trying to grab something normal human hands just couldn't hold on their own. That's when it finally came to him. He would empower himself with Busoshoku Haki, and use that to control the water. After quite a few of failed attempts, Miyagi finally learned the basics of his Sui Kenpo, and once he added his Haki into the water around him, he was capable of controlling it as an extension of himself; in much the same manner as a swordsman would treat their swords and blades as extensions of their arms. After Miyagi taught himself how to create Sui Kenpo, he would later toy around with his Haki, and find out that he could alter the size, length, width, and shape of the water he could control. And like with Ho Kenpo, Miyagi's Haki-imbued water not only held the well-known weakness of the mysterious Devil Fruits, but it had Haki within its entirety, making it capable of harming Devil Fruit users much more easily, as well as increasing its resilience and strength.

Because of Miyagi's discovery, those who wish to learn and use Sui Kenpo must first awaken their Haki, and then, strengthen it (particularly Busoshoku Haki) to a degree that they can control the water by themselves. Once that is done, the possibilities are nearly limitless with what the user can do with Sui Kenpo, as the discipline is as versatile as the element it is based on.

Kraken Arm: One of the earliest known Sui Kenpo techniques, the Kraken Arm is named after the mythical giant squid, the kraken, and is named after arms, implying it's supposed to resemble a squid's tentacle (which it does to some degree.) Being made out of the user's Haki-infused water, the Kraken Arm technique is typically used by one hand at a time, though users have been known to switch things up, and surprise their opponents by using two Kraken Arms at once (one in each hand.) The technique is formed when the user collects water around their hand in the shape of a circular sphere, which depending on its shape and volume, may or mat not need more water absorbed into it to increase its size. After formation, the water sphere is elongated into a long, watery whip, roughly measuring to about 3 feet at minimum. At its longest, the whip can reach any possibly conceived length, so long as there's enough water for it to absorb to increase its length. Once the whip is created, it becomes an extension of the user's hand, and flows anywhere where the user's Haki guides it, making it easily manageable and manueverable. To increase whip speed and power, the user can flail their arms alongside it, increasing its momentum and further giving it clearer direction in where the user wishes it to go.

The whip's effectiveness is similiar to that of a strengthened bullwhip, as kinetic energy is poured into the whip as it bends before reaching its target. Once the whip lashes out at its point, all the kinetic energy that traveled along and within the water whip is released at once, creating massive damage and injury afterward. Furthermore, considering its size and the fact that its enforced with the user's Haki, the whip is more similiar to that of a strong sword than that of a bullwhip, as it can cut people and objects alike, and leave chipped slices in the ground. Additionally, while the whip's base is usually positioned on the user's hand for maximum reach, the base can be moved up the arm to pull the whip back in mid-attack, so long as the water is continually fed with the user's Haki, and stays in contact with the user's body at all times. Likewise, the whip itself can be retracted back into the water sphere base on the hand when necessary, and then later extended back out for combat and other purposes, making its definite length variable, and the whip itself highly malleable.

Ryujin: Named after the Japanese sea dragon god, Ryujin, this technique is formed in a similiar manner to the Kraken Arm. A sphere of water is formed around the user's hand, and while it's traditionally used once at a time, users have also surprised their foes by using it in both hands as well. Instead of creating a simplistic water whip though, the Ryujin takes the form of a serpentine water dragon with its mouth wide open. It's rather large in size, as it roughly reaches at least a foot higher than its user's body height, and it's massive in its width. The form of the dragon is meant to intimidate foes, so as to weaken or cripple them psychologically, as well as to grant the user a larger surface area to attack with. The Ryujin, once created, will then be launched straight at the target, which will then create tremendous amounts of damage upon impact. And as it's still connected to its user via Haki and a long, watery tendril that acts as its "tail," the Ryujin can home in on opponents in case it were to miss on its first attempt. Also, it appears to be powerful enough to smash through weaker defenses before dissipating back into pure water and Haki, while stronger defensive measures can stop it in its tracks. The strength of the Ryujin isn't clear, though it seems capable of tearing through stone, trees, and weak metals.

And like the Kraken Arm technique, the Ryujin can be retracted and extended as seen fit, so long as proper water conservation and Haki control is in check. However, unlike the Kraken Arm, which can withstand countless strikes without dissipating, the Ryujin can only withstand one major collission before being used up. This makes the Ryujin more of a finishing move than anything else, as its power and adaptability allow it to put the finishing blow on the user's opponent.

Charybdis: Named after the mythical whirlpool described in the Greek tale, The Oddysee. The Charybdis differs from previously seen Sui Kenpo techniques, as it doesn't require a bubble of water around the user's hand to create it, and it doesn't make use of a tendril attached to the bubble. However, it is still a sphere of water, like how the Kraken Arm and Ryujin begin, though it stays this way throughout the technique's performance. By collecting ambient water, no matter how it's gathered (so long as Haki is applied,) the Charybdis is formed into a water sphere that sits comfortably in the user's palm. With the user's Haki in it, the user gives it a violent tug, which causes the Charybdis to spin rapidly in the user's palm. The size of this spinning water sphere is roughly similiar to that of the width of the user's palm, making it no larger than the user's own hand. After the user has caused it to spin, the user will then thrust their palm outward ahead of them and towards their opponent. Once the Charybdis has made contact with something, be it the opponent or not, it will rapidly expand, and while still spinning, create a massive, horizontal, mid-air whirlpool that will pull the target along with its powerful current before blasting them away for a fair distance. The size at which the Charybdis grows becomes similiar to that of at least twice the user's own height, making it a dangerously powerful Sui Kenpo technique. Plus, the blunt trauma inflicted to the opponent from the impact, and then the vortex's spinning and eventual flinging of the target will most likely inflict a great deal of injury and collateral damage alike; not to mention the added power from the user's own Haki.

A variation of the standard Charybdis technique is sometimes employed by Sui Kenpo users who find themselves unwilling, or unable to throw the spiraling mini whirlpool at their opponent. This version is done by simply ramming the vortex into the foe, which will cause the same effect as if it were thrown.

Tidal Path: A non-offensive and more supportive Sui Kenpo technique, the Tidal Path is named after ocean tides and paths, which clearly references its own ability. To use the Tidal Path technique, the user must have incredibly strong and powerful leg muscles, meaning that this technique is no different from Rokushiki's Geppo technique, albeit it's used to cross bodies of water, as opposed to traversing the air. And so, by powerfully kicking off of a deep body of water, a Sui Kenpo user can easily walk, run, skip, hop, or simply dash from spot to spot on the surface of the water. This is extremely useful, considering how much more ocean there is in the One Piece world, when compared to the patches of islands dotting the world's seas. Even more so, much like Fu Kenpo's Wind Road, users of the Tidal Path technique can even seemingly stand in place on a body of water without falling under. However, this is merely an optical illusion, as the user must rapidly and continuously kick off of the water below them to keep themselves above its surface. This results in the user's legs appearing as if they're not moving at all, and thus, as if the user is literally standing on water. However, to those who understand the technique themselves, a dead give-away that someone is using Tidal Path will be a ring of upturned water around the ankles of the user, as their kicking will disrupt and displace the water around their feet.

Additionally, while it is normally unseen by those above the surface, below the user's feet, whenever they leap off of the water by using Tidal Path, they will create large torrents of water underneath them as a side-effect, as it is due to the forceful and aggressive kicking from above that pushes the water down below. This makes it extremely dangerous and risky to be underneath a Sui Kenpo user who's using Tidal Path to keep themself afloat, as the torrents are liable to cause massive injury and damage by accident. Only truly skilled Sui Kenpo practitioners have shown the capability to use the same amount of force to propel themselves over the water without needlessly pushing the water down beneath their feet. Due to the fact that the user of the Tidal Path technique can stay completely dry and cross bodies of water without submerging, this makes it a highly popular technique amongst Ichi Kenpo practitioners who have eaten Devil Fruits, as this allows them to cross, and avoid falling into large bodies of water without compromising anything in return, such as Devil Fruit powers, additional energy or strength, or even any materials they might have on hand at the time.

Rai Kenpo[]

Rai Kenpo (lit. Lightning Style) was originally not a concept Lee Miyagi was concerned of at first. Therefore, quite a while passed after the creation of Ichi Kenpo, where Miyagi found himself quite content with what he already had. This all changed one day, after forming The Warrior Pirates and sailing the world in search of Whitebeard, where Miyagi found himself in a difficult battle, that not even his basic and fundamental Ichi Kenpo techniques could help him win. In particular, he found his Ho Kenpo completely inneffective against the opponent, and realized that he needed something that could surpass it in power and destructive potential. Laying injured on the ground, he looked up at the sky and saw the thunderclouds that were produced from the intense heat of his earlier Ho Kenpo attacks. Noticing the flashes of lightning in the sky, Miyagi found himself wishing to have the same speed and power of the lightning that flew around over him. And with his body as damaged as it was, he also yearned to have the energy to keep moving forward, so as to finally defeat his foe.

It finally ocurred to Miyagi when he watched the lightning that his Ichi Kenpo still needed to evolve and grow, much like any living creature faced with a challenge. And so, forcing what remained of his strength back into his body, Miyagi rose to his feet, and decided to improve his Ho Kenpo there and then; even if it meant teaching himself how to make it better when in the middle of an important fight. As Miyagi fought stubbornly with his Ho Kenpo, he began trying to increase its effectiveness by creating even more friction on his body. Soon enough, after a long and hard attempt at doing so, the heat on Miyagi's body grew, just as he had hoped it would. However, instead of making his flames hotter, the particles in the atoms that made up Miyagi's heated body (which was covered in Ho Kenpo's Elemental technique) began to ionize, and transformed the heat into plasma. Now covered in plasma, Miyagi continued trying to fight in his improved state. And while at first, it proved effective on its own, Miyagi felt the need to use his Ho Kenpo techniques. And so, by adding Haki into the plasma on his body, the plasma began to convert into electricity. While at first, it was only subtle, Miyagi was able to notice this difference, and tried to focus his Haki so that it would move from one point on his body to the next. This created an artificial streak of electricity. And when Miyagi applied it to his entire body, the plasma changed form, and became a protective aura of electricity, shielding Miyagi from harm, while at the same time, guided by his Haki, so as to not accidentally touch his skin and electrocute himself with his own created technique. Miyagi had finally learned how to harness the lightning that inspired him to grow stronger. And from then on, Rai Kenpo was created.

Unlike Ho Kenpo, which produces an orange-yellow glow of heat on the user's body, Rai Kenpo's primitive plasma state appears to be much brighter, and comes in the color of a yellow-white gradation. However, the focus isn't on Rai Kenpo's plasma, but rather, on the electric charge formed from adding one's own Busoshoku Haki to it, so as to act as a conduit to guide the electricity around the user's body, and anywhere else the user wishes to send it to. As such, it is urgent to learn how to use Busoshoku Haki, or else the user will never be capable of using Rai Kenpo on their own (though other outside forces may help to act as an artificial catalyst in place of the user's Haki, should they be unable to use it.) Also, like Hikari Kenpo, while Ho Kenpo does lose heat over time, this is only gradual in comparison to the energy lost while using Rai Kenpo. As a result, Rai Kenpo must be used carefully, so as to not waist the electricity generated by the user. If the electricity is lost though, the user must simply apply friction to their body once more, and re-create the conditions necessary for Rai Kenpo (which can end up being tedious and time consuming over a long period of time.) A technique was formed by Lee Miyagi however, so as to siphon the required energy source (electrons) from the environment around him, in order to keep Rai Kenpo active indefinately.

After the creation of Rai Kenpo, Miyagi understood that he was wielding energy itself. And while it was an ascended form of Ho Kenpo, it was still different from the former style in form and appearance. Therefore, Miyagi classed Rai Kenpo as a sub-branch of Ho Kenpo, making the two something similiar to sister branches. Additionally, being essentially energy, and knowing he had listed the usage of fire as a way of using life itself while keeping in mind the relationship between Ho and Rai Kenpo, Miyagi made it a point to consider lightning and electricity (and any associated forms of the element) as the element of energy itself. He figured, as a sister element to fire, lightning was the energy that gave life the strength and willpower to keep moving, no matter what. Fire, in nature, was like a living thing itself, and it helped to cultivate life; while lightning and electricity kept life going, and never stayed still for too long. As a result of its restless nature (and perhaps another metaphor for lightning's energetic status,) this makes Rai Kenpo a much more difficult form of Ichi Kenpo to control, as the user must learn to retain the electricity in one localized area, and must only allow it to spread out when the user wants it to. This is the opposite of Ho Kenpo's consuming and burning nature, as while it does spread out, it also tends to stay behind to continue burning anything it touches. This makes Ho Kenpo easier to control, as the user can keep it contained in one area indefinately. Rai Kenpo however, is much more difficult, as the electricity will attempt to shoot out towards any opposing charged object nearby at all times. Thus, intensive concentration and focus is necessary to keep the user's Haki in control of the electricity's direction, as well as to keep it condensed for maximum damage.

Lightning Rod: Named after the same device, which acts as a grounding rod to divert hazardous lightning away from important structures or people. This was one of the earliest forms of Aku no Jutsu (Evil Techniques) that Lee Miyagi developed after inventing Rai Kenpo. As a result, users of Rai Kenpo are prohibited from using Lightning Rod unless they meet the strict criteria for Aku no Jutsu; this being, using it to protect one's life, loved ones, or anything precious and important to the user and their loved ones. To use Lightning Rod, the user must already have the lightning generated from their plasma on their bodies, and the Haki infused into it, much like any other Rai Kenpo technique. However, a major factor must be present at all times when using Lightning Rod; this being storm clouds overhead. Normally, this makes Lightning Rod difficult to use in every battle, or in certain locations, which should be enough reason to keep it from hitting the Aku no Jutsu list. However, crafty practitioners of Rai Kenpo have also learned to use their Ho Kenpo to shoot large flames into the sky, and generate enough heat to create condensation in the atmosphere; after which, storm clouds will start to form.

After the conditions are set up in just the right way, the user can then harness the power of mother nature itself, and summon a wicked thunderbolt to drop onto their foe, causing astronomical amounts of damage and harm. This is done by using the Haki within the lightning cloak to reach out into the air around the user, and draw in ambient electrons and other charged particles. By focusing their Haki straight at the sky above them, the user can draw electric lightning bolts right onto their position, and force genuine lightning to strike anywhere they please. As a result, this not only has the potential to kill most opponents (barring the incredibly powerful types of people in the world, like Whitebeard for instance,) but it also puts the user at risk, for they will be unable to retreat fast enough in time to escape the lightning (though again, those with unbelievable amounts of speed, such as Kizaru or Nova Blade can easily avoid the lightning strike without worry; though this is mostly due to their respective Devil Fruits.) The possibility to kill one's opponent unintentionally, and the risk the user must face when using it make this technique an Aku no Jutsu. However, it is luckily kept in check thanks in part to certain terrain or landscapes that would make connecting the charges between the storm clouds and the Haki-lightning aura all but impossible; such as caves, enclosed buildings, or even just being underwater. So long as the charges cannot link up, there will be no lightning strike to drop onto the opponent.

Susano'o: One of the more powerful Rai Kenpo techniques, while still managing to stay within the realm of the Zen no Jutsu (Good Techniques.) It's named after the Shinto god of storms and slayer of the mythical serpent, the Yamata-no-Orochi, Susano'o. After enveloping one's arms and hands in the Rai Kenpo lightning armor, the user must carefully and painstakingly concentrate their Haki into one single point on their palm, in a manner similiar in effect to Ho Kenpo's Amaterasu. By doing so, the lightning begins to condense and compress itself into ball lightning, a spherical orb of electricity itself. With Haki flowing throughout it, the ball has a bit more solid mass to it, and can achieve its compressed state more easily; however, this is still not as simple as it sounds, as Rai Kenpo is still a difficult style to learn, let alone master. Once the ball has been compressed, the user raises their hand up over their head, and forces the ball to grow to gigantic proportions, in much the same way as Ho Kenpo: Amaterasu, and Ace's Dai Enkai: Entei technique. When the ball has become big enough, roughly being about 20 times the size of the user themself, it is then hurled from the user's hand at the opponent.

The large orb of Haki-lightning is apparently very powerful, as it can eat away at the landscape with minimal effort, and travels relatively quickly, as is common for Rai Kenpo techniques. Once it has made impact, the Susano'o will then explode in a flash of bright light and energy, and emit forceful shockwaves from its point of contact. The sound it makes when it lands is easily the same as that of a thunder clap, as the air around the Susano'o has heated up rapidly and forced the air to expand at an extreme rate. Once the action has died down, a massive spherical crater is all that's left of the restless ball of energy. The Susano'o requires such power and strength, that it eats up a ton of the user's Haki-lightning, making using it more for finishing off opponents and desperate situations, rather than throwing it around blindly.

Thunder Gun: Named after the sound of thunder, which often accompanies lightning, and for guns, which the technique imitates, the Thunder Gun technique isn't quite as dramatic or as powerful as the Susano'o or Lightning Rod, but it still packs plenty of punch that is to be expected of a Rai Kenpo technique. After generating enough electricity around the user's hand, the user must copy the appearance of a pistol with their index finger and thumb, and then focus on concentrating their Haki into a single point in front of their extended index finger. The condensed Haki-lightning will then create a blinding light as it gathers together, and will be at its brightest when it is done, signaling its completion. The light typically glows as bright as any lightbulb, making for an easy comparison as to when it is or isn't fully charged. Once ready, the user will then slide their thumb down toward their index finger, as they "fire" the charged Haki-lightning as a bolt of electricity at the intended target.

The technique gets half of its name from the thunderous roar the lightning makes when it's released as a bolt, as it hastily flies throughout the air, causing it to rapidly expand. Also, as it is much narrower and smaller than techniques such as the Susano'o, it tends to tavel much more quickly, and has even greater accuracy than its stronger Rai Kenpo technique brethren. Once it has made contact with something, a resulting explosion of heat and light will occur, leaving behind a fairly moderate amount of damage in its wake. Lee Miyagi, the founder of the Ichi Kenpo martial art, once proved how effective the Thunder Gun was, when he used it to kill a Sea King for its meat with one hit. Also, while users of Rai Kenpo tend to only use one hand at a time for the Thunder Gun, some have shown enough skill to simultaneously wield the technique with both hands, thus adding to its effetiveness in combat, and making it harder to avoid.

Hi Kenpo[]

Hikari Kenpo[]

Doku Kenpo[]

Baburu Kenpo[]

Baburu Kenpo (Lit. Bubble Style) is a rather unique Kenpo in the fact that it relies completely on the usage of Haki and Bubbly Corals a strange, mysterious device that look like coral, but has the ability to produce exetremly strong and durable bubbles.

Lee Miyagi, in his quest to have more understanding of nature, traveled to many places with diffrent enviroments and climates, he created this Kenpo in one of his travels to Fishman Island where he first discovered Bubbly Corals, he was very interested in the nature of the bubbles produced by this device and knew that it had enough potential to be a part of his style, he tried to think for a long time of an effective way of using it in battle other then its basic usage. This is until the idea crossed Miyagi's mind, These bubbles are much more durable then normal ones, meaning that it can be compressed to produce similiar techniques to that of Sui and Fu Kenpo.

The use of this Kenpo is simple, after producing bubbles using a Bubbly Coral, a practitioner would grab and compress the bubble to a much smaller size, harden the bubble with Haki to keep it in that compressed state and then remotly decrease the magnitude of Haki applied to it causing the bubble to explode, making the bubbles function as bombs. Miyagi however found one major weakness in this Kenpo, as compressing the bubbles takes time and concentration, Miyagi as a skilled martial artist knew too well that this is dangerous when up against stronger and more skilled opponents. He later managed to find a way of erasing this weakness by "hardening the air" inside the bubble after compressing it, producing the same amount of power with much less compressing, thus making the style much less time consuming, but most importantly it gains the ability to harm Logia users as the air released from the bubble is infused with Haki. There are however more basic ways of using the style such as hardening the bubbles and then using them either for defense purposes or offensivly by shooting them at opponents, but this is much less used because it takes much time to produce the bubbles for one to use them in such basic and trivial ways, making the usage of this style almost completely revovled on having the bubbles explode on enemies.

At full power, the explosion of one bubble has enough power to encompass an entire island, a style with incredible and uncontrollable destructive force that can harm its users, this lead Lee Miyagi the creator of this Kenpo to instantly label it as an Aku no Jutsu (Evil Techniques.).

Honoo Kenpo[]

Honoo Kenpo (lit. Blaze Style) is the first Kenpo of its kind, as it was born from the combined practices of both Ho and Fu Kenpo. Its creation was an accident however, as Lee Miyagi, the founder and developer of Ichi Kenpo, never intended for it to be a part of Ichi Kenpo in the first place. During a particular battle, where he was using his Ho Kenpo, Miyagi forgot to remove the excessive heat on his arms while performing the Fu Kenpo: Current Cannon. This not only resulted in the birth of a new Kenpo, but in the creation of its first technique, the Honoo Kenpo: Heatwave. From then on, Miyagi experimented with various uses of both Ho and Fu Kenpo, and learned that he could make either Kenpo more useful and powerful by combining the two into one Kenpo entirely. Through fanning the flames of Ho Kenpo with the breezes and gusts of Fu Kenpo, Miyagi noticed his flames had erupted into unruly blazes, and thus, he got the name for the new Kenpo; Honoo Kenpo.

Therefore, practitioners and users of Honoo Kenpo are fully required to know and use both Ho and Fu Kenpo each, or else their Honoo Kenpo techniques will fail, or lack the necessary power that is expected of them. In fact, it's somewhat rare to find those who diligently study only Honoo Kenpo, as it's much more common to see either Ho or Fu Kenpo users using Honoo Kenpo to improve their respective Kenpo's abilities. Users of Ho Kenpo use Honoo Kenpo to improve the range, power, and skill of their techniques by implementing the "freedom" of Fu Kenpo, by using the elegant, acrobatic, and more relaxed movements seen in Fu Kenpo. Likewise, Fu Kenpo users improve their techniques' overall strength by adding the searing heat of Ho Kenpo to their own. This is done by using the more forceful and aggressive forms of fighting found in Ho Kenpo. By performing both Kenpo's respective forms and ways of fighting, users of Honoo Kenpo can then merge the two together in order to compliment both Kenpos, and thus make a stronger, more impressive style of fighting than before.

Like with other Kenpos, Miyagi eventually gave Honoo Kenpo a philosophy behind it, in order to help students and other willing martial artists who wished to learn the style a way of understanding how to use Honoo Kenpo efficeintly, as well as to give them a way to learn from it and grow, as he found growth to be an important part in not only martial arts, but in people as well. Miyagi considered Honoo Kenpo to be the style of teamwork and cooperation; not because of what the Kenpo's flames represented, but because of what created them. It was the admirable blending of two different Kenpos into one that allowed Honoo Kenpo to be born, and thus, it survived solely on impressive teamwork and coordination. And so, in honor of the spirit of teamwork, it is not unusual to see a Ho Kenpo user work together with a Fu Kenpo user in order to combine their respective styles into a mighty Honoo Kenpo technique.

Heatwave:

Taiyokyaku:

Comet Collision:

Suna Kenpo[]

Suna Kenpo (lit. Sand Style) is currently the only known style of Ichi Kenpo that wasn't created nor developed by Miyagi. Rather, it was invented by Ignis D. Hiro, who, as a Majin and thus used to being around sand, became the only known practitioner of this form of Ichi Kenpo. Also unlike the other Kenpos, it is currently unknown if Hiro has a philosophy regarding Suna Kenpo or not. In order to use this Kenpo, Hiro must make use out of both Fu Kenpo and Chi Kenpo; making this a combination style similar to Honoo Kenpo. Under normal circumstances, Hiro can simply use Fu Kenpo to manipulate nearby natural sand; but when sand is scarce, he can make use of Chi Kenpo to smash apart and break down stone and other rigid substances, in order to create a source of sand to fight with. Additionally, he can produce more stone and debris to break down via Chi Kenpo, allowing him to summon sand almost anywhere. With sufficient training, Hiro has managed to master this technique to the point where it's hardly noticeable. He can also use Sui Kenpo to make the sand moist and damp. He can mold this said sand to any shape he wants, but if he touches it, he can mold it into a larger variety of shapes using his Devil Fruit. Hiro also incorporates this into his Enchantment fighting style, using the sand to create a illusion as if he was in Sahara, as well as using Ho Kenpo to create heat waves to further boosting the properties of his Enchantment. As well as using Ho Kenpo to create heat waves.

Sand Pit: Hiro breaks down the earth below his opponents, and uses Sui Kenpo to create a Quick Sand Pit, keeping his opponents stationary by manipulating the sand around his opponents feet.

Sand Thorn: Hiro creates a giant thorn of sand above his head, and throws it down towards the opponent, the sharp sand impaling them.

Great Crush: Hiro Manipulates the sand to surround his opponent. Once surrounded, the opponent gets crushed by pure brute force.

Giga Golem: Hiro manipulates and molds the sand into three huge sand golems.

Hand-to-Hand Techniques[]

Playful Capuchin: One of the earliest known melee attacks in Ichi Kenpo's history, the technique was created by Lee Miyagi during his training in the forest, where he spent much of his time alongside the native wildlife. One of which, was a capuchin monkey he had observed, as it swung and leaped with great agility from tree to tree. Wanting to fight as gracefully and swiftly as the monkey he saw, Miyagi created a playful technique, thus where the technique's name came from, and ended up creating the first hand-to-hand attack in Ichi Kenpo. The technique is performed in two steps. The first being, that the user will perform a low-sweeping leg sweep behind the opponent's legs, which after being struck, will knowck them off balance and make them fall backwards. The final step involves quickly rising back up onto the user's feet by spinning around once in place, and then, as the opponent is still falling, to slam the back of the user's nearest fist into the opponent's face; thus creating an effective one-two combo that can push the opponent backward by a bit.

Strike of the Vulture Wing: Another technique created by Miyagi, during his training in the mountains. As he tried to learn the basics of Chi Kenpo, he found himself under attack by wild vultures; many of whom stole his belongings. Vowing to get them back, Miyagi fought a heated battle against the vultures in the hazardous mountain range he was training in. After defeating them and taking back his belongings, Miyagi came to respect the strength and fighting capabilities of the vultures, and thus took it upon himself to learn from them. Thus, he created the Strike of the Vulture Wing, which would be his attempt to imitate the wing strikes he received from the vultures. The Strike of the Vulture Wing technique is rather simple in appearance, as it normally only requires the user to perform a hard, strong chopping-like motion with the user's forearm. The strike however, is pretty effective, as it relies on using the user's strong arm bones, as well as kinetic energy that's gathered in the user's feet, and then which is forced up through the user's body and into the user's arm, where it is released into the opponent with devastating effect. A truly honed Strike of the Vulture Wing is capable of splitting apart trees and boulders, among other things, depending on the strength and skill of the user in question.

Hunt of the Tiger Shark: During his training at the lake in order to learn Sui Kenpo, Lee Miyagi found himself dragged out to sea on one occassion, where he encountered many aquatic animals, one of which being a voracious tiger shark. After battling and defeating the shark in a fight, Miyagi decided he'd use what he learned from his battle to his advantage, and create a hand-to-hand technique to commemorate his creation of Sui Kenpo. Thus, the technique was named after the tiger shark he defeated, as well as the hunt that lead it to him. The technique starts off by creating imitation claws with the user's hands and fingers, with the hands acting as the shark's open mouth, and the fingers being the protruding teeth. While the technique can be used single-handedly, some practitioners of Ichi Kenpo may use both hands cupped together (creating an upper and lower jaw) to increase the damage done to the opponent. If the user has strengthened their arms (where the true power and strength from the technique comes from) and toughened the bones in their fingers, they can be capable of leaving holes in their opponents and targets similiar to that of the Shigan technique, as well as tearing their intended target to shreds, as if they had been cut by knives.

Flight of the Falcon:

Trivia[]

The fighting style was originally created for fun, and was never intended to be a serious fighting style to be introduced into the One Piece world. However, after considering what he could do with the fighting style, Wyvern 0m3g4 eventually decided to add it anyway.
The Fu Kenpo: Current Cannon bears a strong resemblance to both the Kamehameha in the Dragon Ball series, and the Rasengan found in the Naruto series; both being signature techniques to both series' respective protagonists. While the Current Cannon's stance and performance are reminiscent of the Kamehameha, the spiraling air ball is more similiar to the Rasengan. Wyvern 0m3g4 has admitted to doing this on purpose, as both techniques were a source of inspiration for him.
- Likewise, the Sui Kenpo: Ryujin technique looks identical to the Water Dragon Jutsu from the Naruto series, as they're both large dragons formed from surrounding water that are then forcefully knocked into the opponent. Unlike the Fu Kenpo: Current Cannon, Wyvern 0m3g4 has stated that this was a coincidence.
- The same is said for the Ho Kenpo: Amaterasu, which looks identically similiar to Portgas D. Ace's Dai Enkai: Entei technique, but remains different from it in nature. This was another coincidence on Wyvern 0m3g4's part.
- Similiarly, the Ho Kenpo: Vulcan Fist and Ho Kenpo: True Vulcan Fist appear in much the same fashion as Ace's signature Fire Fist technique, by sheer coincidence.
- The Sui Kenpo: Charybdis bears a striking similiarity to the Giant Vortex Jutsu in the Naruto series.

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Fighting Styles

Hand-to-hand Styles:

"Strong Arm" Style • 7 Seas Kickboxing • Aaron Style • Akki Odori • Ancient Cina Kung Fu • Angelic Fist Formation • Ashi Jujitsu • Avalon Style Kung Fu • Ba Quan • Banchou Boot • Bigfoot Muay-Thai • Blue Fist Style • Bonebreaker Fighting Style • Breaking Style • Breakneck Style • Byakuro-ryu • Caetus Mala • Chisai Koto • Chogin • Chuusei Kentou • Coronan Krav Maga • Dragonic Fist Style • Drunken Fist • Enchantment • Exploding Fist • Fat Kenpo • Fox Hunting • Gugong jing • Hobo's Southern Fist • Hokuto Shimken • Hurricane Fist • Ichi Kenpo • Jester Kenpo • Jishaku • Jitabata to Kiai • Jus Bellum • Kami Style • Kanrai • Killing Hand • Kira (Fighting Style) • Kureiji Kenpo • Kyojin Sumō • Kyokuba Kenpo • Legitimate Self-Defence Style of the Merchant Fleet • Lightning God Kenpo • Maihime no Ken • Mermaid Combat • Metamorphosis • Milana Style Fighting Arts • Miracle Cuisine • Omniclops Combat • Oni Katai • Pervert Style • Raijin Kenpo • Red Boxing Style • Regulus Eradica • Saiwanhitotsudo • Sanrintai • Sao Zhang Style • Sevel Maga • Sexy Style • Shandian Jujitsu • Shinku Rengetsu • Shishi-ō no mai • Si Xiang • Spore Combat • Storm Fist • Takuya Mixed Martial Arts • Tenchi Kenpo • The Enlightenment • The Manly Fist Formation • The Mind Without Mind • The Transcendent Mind • Transcendency • Tsubasa Ryujin Style • Way of Vibrations • White Demon Kempo • Winded Fist Style • Yeti Wrestling

Others:

Haki (Kenbunshoku Haki • Busoshoku Haki • Haoshoku Haki)

Devil Fruit Powered:

Agni Caste • Amimono Kenpo • Art Style: Kinetic • Art Style: Mainstream • Art Style: Pop • Avalon Style Kung Fu Devil Fruit Forms • Claw Form • Claw Style • Denchi Denchi no Mi Techniques • Hyper Mode • Indra Caste • Naga Naga no Mi Techniques • Nendo Nendo no Mi Techniques • Scale Form • Shiru Kenpo • Turbo Mode • Ultra Mode

Weapon-Based Styles

Swords Styles:

As the Crow Flies Merciless Sword Style • As The Hawk Dives For Prey Sword Style • Dansu no Ha Mutoryu • Deux Lames De Style • Dracule Sakura's Ittoryu • Dragon Hunter Combat • Eien no Tsuki • Flash Sword • Guddo Rakku's Fighting Style Kengiryu • Kosaka Blade Style • Mugen Ittoryu • Niten Ichi-ryū • Onmyodo • Raionkingu no Ken • Ryu Ken no Koto • Sentoryu • Shinsei-Ryu • Tentoryu • Tokijintōryū • Two Knife Style • Venatien Combat Style • Yeti Reels' Ittoryu

Other Weapons-Based Styles:

Combat Maneuvers • Five Shotguns Style • Lucy's Tricks • Mugen AK Blast Arts • Ibboryu • Niboryu • Sanboryu • Nionoryu • Puppet Style • Reis' Concert • Symphonia • Timber Ultra Collection (Storm Edition)