WORLDBUILDING: The Book of the Red Star (The Legend of the Red Star planning thread)

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Welcome to the planning thread to my upcoming Asian inspired fantasy adventure, The Legend of the Red Star (or Akahoshi no Densetsu, if you want to write it out in Japanese) Here you'll learn about the world of Kinmura, its people, its places, its creatures, and its magic.

The Contents (you are here)

The Basics of the Legend
The World of Kinmura
List of Place Counterparts
Martial Arts and Magic
The Six Points of Magic
Meet Ash, the Red Star
Meet Master Takamaru
Meet Chikane
The Lore of Kinmura
The Economy of Kinmura
Pasttimes of Kinmura
The Theater in Kinmura
Puppets and Yakana
The Traditional Orchestra of Kinmura
The Teion
The Yushin of Kinmura
Meet Kiyama
Meet Yasuna
Life as a Kazehito
Common Botos and Their Meanings
Battles and Duels
Tournaments in Kinmura
Meet Brock
Meet Dawn
The Plan for the Story
Types of Roles in the Kinmuran Theater
Seirei
The Honogin Players
The Kinmuran Harp
The Four Great Spellsongs
Kinmuran Flutes
Meet Winona
The Kodan Tradition
Ash's New Instrument: The Harp Yukanmune
Ash's Known Moves
Kiyama's Known Moves
Dawn's Known Moves
Kinmuran Traps
The Tikin in Kinmura
Other Kinmuran Instruments
The Great Temple
The Monsters of Kinmura
The Six Jeweled Shrines

More to come as planning progresses.

 

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The Basics of the Legend

Long ago, when the world was new, the great dragon Yofune was sealed in the underworld by Arceus, the god Pokemon. In his anger, Yofune often sends monsters to the surface world. These monsters do everything from generally bothering people to flat out destroying entire cities. As such, many cities enlist all manner of heroes to keep these monsters at bay.

But, the cruel and greedy emperor of Kinmura wants to rule the world by doing the unthinkable--releasing and taming Yofune. A young swordsman hears of the emperor's plot, and sets out for the capital city far to the north, with his sword, a mystical flute, and his faithful Pikachu by his side...

 

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The World of Kinmura

Kinmura is geographically and culturally based on China and Japan--it has four distinct seasons, a cold mountainous north, and warm and tropical south. Most people, however, tend to live by forests and on plains. Although there are a few actual roads, getting from point A to point B is reasonably safe if you prepare well.

As it is a parallel version of the Pokeworld as we know it, many places in the known Pokeworld have counterparts in Kinmura. Overall, cities and towns from the main five regions have counterparts, in addition to Orre, Fiore, Almia, and Obliva. Kanto, Johto, and Shinou have the most representatives, but they are not always in the same relative location as their counterpart in the real Pokeworld. There are also many other towns dotting the world, each with their own unique claims to fame.

Kinmura is divided up into four main continents, ruled by its own ruler. These rulers, known as <i>shisas</i>, report to the Grand Emperor (or Grand Empress) at the capital of Aiiro, which lies in the northern mountains of the east continent. The chain of command then goes like this:

--Town elders or local officials (depending on how big the town is)
--King/Queen (they rule over a very large town or a region of a continent with many towns)
--Shisa (they rule over a continent)
--Grand Emperor (who rules over Kinmura as a whole

 

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List of Place Counterparts

Here is a list of counterparts in Kinmura, and where they are in the real Pokeworld:

Masara-Pallet Town
Haradori-Viridian City
Samfui-Pewter City
Falan-Cerulean City
Kuye-Vermilion City
Jamuni-Lavender Town
Tasaina-Celadon City
Kogane-Saffron City
Murasaki-Fuschia City
Shinku-Cinnabar Island
Shutian-Fall City
Haruni-Ring Town
Kakina-Summerland
Fuyuto-Wintown

More to come as Ash's adventure unfolds!

 

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Martial Arts and Magic

Training in the martial arts is no different from choosing a trade in Kinmura. When a boy or girl turns ten and receives their first Pokemon, they have the option of training in a trade (girls can make their own living in this world too, although certain professions are traditionally skewed female) or training in kung fu or usage in a weapon. Swords, bows, flails, and staves are some common weapons, but spears, daggers, shurikens, and exotic weapons are not uncommon.

Magic, on the other hand, is seen as a spiritual art. Those that want to learn spells usually train under a priest, miko, or mystic, learning to draw on the powers of the Legendary Pokemon. Casting a spell comes in several flavors depending on what kind of spell you want to cast:

If you want to cast offensive magic (ie. Fire, Ice, Thunder, etc.), you charge a magical crystal with the incantation and throw it.
If you want to cast defensive magic (ie. Cure, Esuna, Protect), you touch the target (or a belonging of the target) and say the incantation.
If you want to cast support magic (ie. Haste, Slow, Lux, Regen, etc.), you make a mystic sign with your hands.

Of course, crystals, <i>ofuda</i> and mystic signs can also cast other magic, but the easiest way to cast any kind of magic is to channel it through an instrument (this is how Ash casts spells, using a flute he named Utahime).

 

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The Six Points of Magic

The type chart in Kinmura is referred to as the Six Points of Magic. In order, they are Fire, Water (Ice is considered part of Water), Wind (Lightning is considered part of Wind), Earth (both the rock and the plant variety), Light, and Darkness.

As far as type matchups go:

--Fire defeats Water, but Fire can only defeat Water if Water is ice, and only defeats Earth if Earth is in the form of grass and plants
--Water defeats Earth if it is soil or rocks in its liquid form, but defeats Earth entirely if it is ice
--Wind defeats Earth if Earth is in the form of plants, and defeats other Wind points and Water if it is in the form of lightning
--Earth can defeat Wind in rock form, particularly if it is in the form of lightning. It will also defeat Water if it is in the form of plants and Water is in liquid form
--Light defeats Darkness, but Darkness can't defeat Light

 

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Meet Ash, the Red Star

The hero of our story, Ash was always the brave one as a child, many times stepping up to do things no one else would do, sometimes before he even thought about the consequences. When he came of age, he entered into the service of the swordmaster of Masara, Takamaru. He proved to be a diligent student and hard worker, but on a trip to the market one day, he saw many that just shoved aside and mistreated the poor (what he saw exactly, you'll have to decide for yourself), and took it upon himself to wander the world, helping those in need.

During his time in the dojo, he also learned magic from the priestess Chikane. Learning spells was a bit tougher, but Chikane motivated him by offering him a special gift if he could successfully cast a spell. After inadvertently casting a spell through his sword, Chikane rewarded him with a flute she had made. Ash then proceeded to cast another spell through the flute, leading Chikane to conclude that channeling a spell through song was easier for him to manage.

With his master's and Chikane's blessings, Ash set out into the world with his companion Pikachu, his sword Kunimada, and his flute Utahime, unaware that his travels would lead him on the adventure of a lifetime.

 

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Meet Master Takamaru

The resident swordmaster of Masara, Master Takamaru is firm yet patient with his apprentices--a must when dealing with energetic apprentices like Ash. In fact, he would tell you that Ash's biggest flaw (at least in his eyes) is his inability to be patient. He is not afraid to lay down the law, but at the same time, he is sensitive to his apprentice's needs. As he puts it, "An exhausted body and a weary mind leads to a dull blade."

His calm and methodical approach to training allows apprentices to see that training with a sword is more than whacking dummies and sparring with him. He cares for his apprentices, and is always willing to listen to any question they have--be this about the blade, or life in general. Many of the apprentices see him as a father figure, leading some in town to affectionately nickname him "Otou-san". Above all, he hopes his apprentices will learn to stand up and fight for what they believe in

 

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Meet Chikane


The priestess in charge of Masara Temple, Chikane is a very calm and relaxed person that doesn't let life's challenges get her down. In addition to interceding for the townsfolk before Arceus and the other Legendaries, she also teaches through folktales in almost near daily sermons.

She especially enjoys teaching others the art of magic, and so far, Ash was one of her favorite pupils to teach. Ash proved to be a determined and motivated student, even though he struggled to even cast a basic spell. It pained her to see such a driven student struggle, and so offered Ash a reward--if he could cast a spell--any spell at all--she would give him something special. As Ash continued his efforts to master magic, she went to work carving him a special flute infused with the power of the Legendaries. She didn't have to wait long to give it to him--one day, Ash managed to cast a spell through his sword, much to Master Takamaru's surprise. Once she gave him the flute, he managed to cast another spell through his first song, leaving her to conclude that maybe spellsongs were the easiest way for him to cast magic.

When Ash plays Utahime, he thinks of Chikane and her undying belief in his ability.

 

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The Lore of Kinmura

Kinmura is a land filled with monsters and other legendary creatures, and many tales tell of heroes squaring off with or befriending the Legendaries and other wondrous beasts. Some common characters in folktales include:

--Tanuki, a michievous Zigzagoon that serves as the trickster figure
--Misha, a miko said to have drawn on the power of Arceus to bring Pokemon to the world
--Riku, a great swordsman who was said to be the first wielder of the legendary sword Nijimaru
--Kanade, a miko skilled with a bow

plus many more.

 

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The Economy of Kinmura

With bountiful land and many resources, Kinmura mainly focuses on trading in its economy. As such, many Kinmurans make their living crafting items and selling them. Craftsman sell everything from ordinary furniture to rare and magical artifacts. Among the most common craftsman are blacksmiths (for tools, armor, and weapons), seamstresses (for clothing), and artisans (for jewelry and decorative items).

In addition to trading, Kinmurans also work as farmers, fishermen, miners, performers, and teachers, to name a few occupations.

Merchants are expected to give every item they sell a fair price. Those that attempt to price gouge or otherwise cheat the customer are punished with heavy fines and even jail time if the offense is serious enough. Those that hire someone for whatever reason are also expected to agree on a fair price for the work being offered. Kinmurans value honesty and fairness very much, and this reflects in their desire to agree on a fair price in all aspects of life.

 

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Pasttimes of Kinmura

Kimuran games often invoke the Six Points of Magic, and some games are said to have magical powers. The Pokemon TCG also exists on Kinmura as well, only the Pokemon come alive, and have spells to augment them.

Another popular game is Six Point Magic, in which the object of the game is to create the Six Points of Magic before your opponents by completing various challenges.

Some games from our world, such as mah jong and Go, are also present, albeit magically enchanced. Pokemon battles, non-lethal duels, concerts and theatrical performances are also popular.

 

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The Theater of Kinmura

The theater in Kinmura is a grand spectacle, with lavish costumes, sets, large puppets, and yakana (costumed performers that are covered completely, the word literally means "living puppet") for the larger Pokemon, monsters, and spirits. Songs, dancing, acrobatics, and even onstage combat are often seen on a Kinmuran stage.

The stage itself is a large platform that can accommodate actors, a wall needed to hide the puppeteers performing smaller puppets, larger puppets, musicians, and any extras needed for crowd scenes. There is also a large area above the stage for acrobatics and scenes in the heavens, and a trapdoor for descents to the underworld.

The orchestra and the narrator are located at the leftmost edge of the stage. A Kinmuran play will have some form of backdrop to set the scene, but any other props and setpieces are brought on and removed by the sozo--yakana that specifically set the stage in full view of the audience.

Costumes range from the very simple (for commoners) to elaborate outfits in many colors (for kings, heroes, and deities) The hero of the play will almost always wear red (as red symbolizes bravery and courage) somewhere on their costume if it is not completely colored red.

A typical play lasts about three hours, but they can be as short as an hour (plays intended for children usually last two hours), to as long as two days for some plays that are only staged on festival days.

 

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Puppets and Yakana

Puppets come in three forms in the Kinmuran theater--the doll-like nitogata (which are performed like hand puppets), the giant shugoshin (which require at least two people to perform), and the yakana, where the performer is the puppet (wearing a costume that completely covers them, akin to a bodysuit in its simplest form all the way up to costumes similar to character costumes in theme parks)

Nitogata and shugoshin performers wear black outfits that completely cover them when performing. The difference is if they are seen or not--nitogata performers are usually hidden from the audience, while shugoshin performers are often seen in plain view (although it is understood that anyone completely covered is a shadow, and therefore unseen to the audience.) Nitogata performers voice the characters themselves (so they spend hours perfecting voices for each individual Pokemon they perform), while shugoshin are voiced by the narrator offstage. (although in some rare cases, the puppeteer operating the shugoshin's head will do the voice)

Yakana are a special case--as they don't speak, speakers in the chorus perform their lines for them while the actor in the costume pantomimes their character's action in time with the speech. During rehearsal, the yakana practice their movements in a practice suit with their heads uncovered. It is only during the last two weeks of rehearsal that they practice in the full costume. As a yakana's costume is so complex, they arrive several hours before the performance just to put on the costume.

It is becoming more common for yakana to use a mesh head or completely covering their face in makeup so that it resembles a costume head, allowing them to speak and sing their own parts. Yakana that wear traditional costumes with costume heads are known as toujin, while those that use a mesh covering or paint are called miansha

 

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The Traditional Orchestra of Kinmura

The orchestra in Kinmura is similar in many respects to the orchestra in China. It is mainly used for ceremonial purposes, but on the Kinmuran stage, it serves to drive the story along and provide special effects. When orchestras play public concerts, they mainly perform songs from dramas, hymns, and other traditional songs. For the purposes of this guide, we will examine its setup for the Kinmuran stage.

When an orchestra provides music for a play, there can be as few as ten players (musicians, speakers, and singers) to as many as 50 (and larger productions may have even more, up to and including a full sized orchestra of 150 players or more)

The most common instruments seen in a Kinmuran orchestra are:

--Harps (both the large concert and small handheld variety--handheld ones are typically played by miko and yushin. The more elaborate the harp's design, the more skilled its player)
--Flutes (both the side blown and end blown variety--the one Ash plays is called a hadifue, which is played like a tin whistle and sounds similar to a Chinese dizi. They are most commonly used to play magic, but other instruments are not unheard of. Onstage, they represent birds, the female voice, or spirits)
--A lute-like instrument called a moji (similar to the Chinese pipa or the Japanese shamisen--yushin often play these as well
--A three-stringed bowed instrument called the tikin (similar to the Chinese erhu--another common instrument for miko and yushin to play. Chikane is a master of both the harp and tikin)
--Horns (usually used to signal alarm or royalty. The most well known instrument in the horn section is the teion, a giant tuba-like instrument that requires two people to play)
--Bells, drums, and other percussion

 

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The Teion

Of all the instruments in the Kinmuran orchestra, the most recognized and most challenging to play is the teion. Originally used as a signal (where it is still used), it found its way to the Kinmuran stage. In addition to its traditional role as a signal of danger, it also symbolizes monsters, royalty, and serves as the bass line for the orchestra. It is increasingly becoming popular as a solo instrument, despite needing two people to play. Onstage, it is mounted on a platform. The one blowing, the kazehito, is seated on a chair, while the one operating the valves, the jinshuhito, will usually stand (although some larger orchestras with multiple teions will also have chairs for the jinshuhito to sit as well.)

Kazehitos spend years learning to breathe deeply, and many of them are renowned for holding their breath underwater for a long time. Since many of their musical lines consist of rhythmically blowing the same note, it is known as boto (after the two syllables used to double tongue on a teion)

A boto has three distinct characteristics--how fast the rhythm is, what note is being played, and how loud the boto is. The most common botos used onstage are nakadoya (medium soft C). hayamiya (fast soft E, which means a monster is approaching) osodoya (slow soft C, the most common boto for something sneaking around) osofade, (slow loud F, used to symbolize an angry person walking), hayafaya (fast soft F, used as a warning signal), nakafaya (medium soft F, the most common boto that symbolizes marching), nakaraya (medium soft A, another common march boto) and osotede (slow loud Bb, to symbolize a monster's footsteps) The most famous boto a common person hears (and the most recognized) is osorade (slow loud A), which is used as a call to prayer at the new year and at festivals, and to announce the birth of a child (this has led to "Sorade" being a common name for boys and girls.)

In all, there are 108 botos for an aspiring kazehito to master, and in order to play in many of the top orchestras, they must be able to play them all. The only time all 108 botos are ever played at once is as an apprentice's final test (a marathon affair in which each boto is played for 120 cycles at a time.)

 

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The Yushin of Kinmura

Kinmura is a land filled with legends and lore, and so it is up to the yushin--wandering storytellers and singers--to keep them alive. They usually wear a festive multicolored outfit, and each yushin has their own unique color scheme.

A yushin will typically play a harp, flute, moji, or tikin (but yushins playing other instruments or more than one instrument are not unheard of). After training for about three to six years, they will either settle in a certain town or wander from town to town. The yushin are responsible for transcribing the songs and stories they tell, and those that are too old to travel often make their livings transcribing stories and songs and writing scripts for the stage.

 

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Meet Kiyama

Friendly and easygoing, Kiyama enjoys her job as a yushin. She grew up in a house filled with music--her father taught her how to play the harp, and her mother played the tikin in the theater orchestra. But things took a somber turn when her father disappeared on an archaeological expedition for the Grand Emperor. While Aiiro City presumes him dead, she suspects that he may still be alive, and uses her travels as a yushin to find any leads. She sends back a portion of her earnings to help her younger sister train to be a kazehito, and support her mother. One day, she hopes to teach herself the flute.

Beneath her easygoing exterior, she is not afraid to take charge and fight. Her weapon of choice is a bow, earning her the affectionate nickname of "Star Hunter." A skilled tactician, she plays off of opponent's weaknesses to gain an advantage.

Little does she know that when her sister befriends Ash, he will guide her on a quest to see the world and bring her father home

 

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Meet Yasuna

Like her elder sister, Yasuna grew up with a love for music and a sense of adventure. Eager to explore, she often spent days camping out in the forest with Kiyama, where she learned how to survive in the wild. As a result, she became the main source of providing food when her father disappeared. She also wanted to make money making music, but wandering around Kinmura and leaving her mother alone for weeks, months or years at a time didn't appeal to her. So when one of their uncles came to help the family out, she came up with what she thought was a brilliant solution--train to become a kazehito. The family wasn't sure at first, but when she was brought to the teion in the town square, she easily produced a note. Her training began soon after, alongside her partner jinshuhito, Takuwa. Of the five tasks an apprentice kazehito must complete, she has completed at least one performing day and learned three of the 20 most famous teion solos. She has only played one of the three she knows--Ash taught her how to play "Blue Dragon Prayer"

While she does struggle with botos, her determination and deep breathing skills she learned from her sister motivated her to keep going. She looks forward to the day she can play the nakafako boto to welcome Ash and her sister home from their adventure.

 

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Life as a Kazehito

When a new kazehito apprentice is accepted into the kenshu (the enclave where all the teion pairs that serve a town and area theaters are trained), they are paired with an older jinshuhito partner (who are trained in another location of the kenshu) They are then taught deep breathing techniques, tone quality tips, botos, and melodies (with emphasis on botos, since many of them convey information to the entire town.) Not doing well in any aspect in their training results in having to play the nakasoya (medium soft G) boto for a specified number of cycles (how many cycles depends on the infraction--something simple like not doing as one is told results in ten cycles, on up to physically harming a fellow apprentice (which results in writing a letter of apology and playing 200 to 500 cycles) There are a number of "punishment botos" but nakasoya is the most common one.

There are typically 20 and 40 pairs in a kenshu at one time, and each day, one pair is out practicing on the town's teion, while the others practice in the kenshu. By the time they become a full fledged kazehito, they will have several months of performance days and concerts under their belts, and completed the five tasks required of every pair (at least one performance day, playing the Nakafaya boto for as long as possible, announcing the birth of a child by playing the osorade boto, learning and playing the 20 most well known teion solos, and playing all 108 botos.)