Guide to the Art of Akaviraka

Originally written by Master Mazhai and published in Fashun of Taesci, translated by Imperial Geographic Society

4th Era 147

To comprehend this nature of reality, my students. You will need to understand the very first thing when one begins to learn the art of alteration: The world is a dream of an "uneasy" god. We are nothing but a perception, an idea, or perhaps an eye of this wandering lost all-powerful being with little conscience at every detail of its creation. "Uneasy" may sound to you as too innocient when people like you,who may have suffered any consequence of this being's thoughtless action, but to practice the art of Akaviraka with one bush stroke you will need to let this truth inside your mind and soul. With that task completed, you will be prepared for what next in your study of Akaviraka.

Part I: What is Akaviraka?

Akaviraka is an ancient art of calligraphy, originated from the heartland of Saishamir [a super continent included Akavir on the West, while a much larger part of the land on the far east]. No one specifically knows on what land or region, but it does not matter to know such thing. It is the race of Man created it in the first place, and it is both arrogantly and truthfully to claim that all humans even those Tamrielic human barbarians that Clan Zanteshi have invaded in much earlier time. Akaviraka in its physical observation is an act of an individual to control his/her spirit to mystically use any physical object (better shaped like a bush or a pen) to enforce his/her will at the cost of the individual's reserve of mystical inner power (it is neither magicka nor Aether-based) into reality. It is to change reality at a stroke of a bush. However, my explaination only uncovers a small sector of true potential of Akaviraka, because this art is neither influenced by the monopoly of Aetherius, Oblivion or Mundus but it stands on the ground of oneself trying to balance with the wandering omnipotent being, Godhead.

Part II: Observed Usage of Akaviraka.

Akaviraka is commonly observed as using a system of Sayshikara, the written language of Taesci. The nation of my parent. In the eyes of Tamrielic humans, the people of my parent's land are serpent-human who have eaten men long ago. They are correct in their own perspective, for they can't comprehend the art of Akaviraka. Serpentine transformation is the most popular fashion of humans of Taesci, as a symbol of wisdom and power. This act of transformation can be done through simply weaving on the air with either your finger or a pen-like object and write serpent letter (蛇).Otherword, Akaviraka has an extremely range of usage from basic houseworks to physical transformation. Truthfully, Akaviraka is the way of life and philosophy of Change and Stasis to reach the higher level of enlightenment.

Usage of Akaviraka can grant one an extremely large enormous volume of power to rewrite the physical and spiritual reality in one’s accord. Yet, it is critically important for an user to maintain the balance of the everything,ShinuandFezua. Shinu is the force of stasis, positivity, known things, masculinity, light ,and control. Fezua is the force of change, negativity, unknown things, feminity, freedom, and secrecy. These two forces pushing against one another to form the concept of morality that we mortals operate upon in this world. They dictate everything to create the order itself. When one begins to punctuate one’s will through the power of Akaviraka, one will either unknowingly or knowingly stand in either position of Shinu or Fezua to project his or her power upon the world. On otherside, this individual will be pushed against by an opposing force on whatever stance that this user has taken when projecting Akaviraka.

Part III: Acts of Akaviraka

The first act of Akaviraka is taking a stance, and be anticipated that there will always be a consequence for that action.
The second act of Akaviraka is to realize and infuse the knowledge of the opposing force, rather than subbornly taking one stance indefinitely, one should try to keep an open mind to receive the opposing force as well.
The third act of Akaviraka is keeping oneself, and not to lose it to either opposing force of Shinu and Fezua. The fourth act of Akaviraka is imagining oneself to maintain the ferocious tide of Shinu and Fezua. For this act is the very definition of Order, and one must keep Order at hand.
The fifth act of Akaviraka is to unwaveringly memorize and keep the fourth act on against everything.
The sixth act of Akaviraka is to know that one is still very naive and will certainly fail to keep up Order someday. It is the way of the everything.
The seventh act of Akaviraka is to keep the sixth act on and must be prepared to fail. No one has never failed before, even the Masters.

Speculation from Imperial Geographic Society: This guide book is among around thousands of Akaviri-written texts bought back to the Imperial homeland since Ionith’s disaster. It took more than one hundred years for Imperial scholars to decipher the language of Akaviri natives, whose art is so cryptically wise. The brief description of an unknown art called “Akaviraka” leads us to draw some parallel connections to the three existing cultural arts in Tamriel: Yokudan sword-singing, Nordic Thu’um, and the lost Dwemer Tonal Architecture. The philosophy behind Akaviraka is much deeper than we have speculated around “Kiai” of Taesci, and it is the most possible theory of Imperial scholars to hypothesize “Kiai” is merely a part of Akaviraka. It is highly suspiscious that Taescis might have used the variant of “bush stroke aerial writting” to alter the physical reality of Mundus to cause unexplainable weather patterns that does not have any Aetherius connection. Still, we have much to learn from the far eastern masters.