Approved Melee Weapon Rin's Talons

[Rin Aikawa]

OUT OF CHARACTER INFORMATION

• Intent: Create a set of weapons that Rin has been using for self defense as a wandering individual looking for work.
• Image Source: Chatgpt, Myself.
• Canon Link: N/A
• Permissions: N/A
• Primary Source: N/A

PRODUCTION INFORMATION

• Manufacturer:
  
  • Kyuzo Weapon Smiths
  • Built to be used for Human Hands
• Affiliation: Rin Aikawa
• Market Status: Closed-Market
• Model: Rin's Talons
• Modularity: No
• Production: Unique (One Set of two)
• Material:
  
  • Duranium Grip and Blades
  • Neuranium Superior Edge and Coating
  • Mono-molecular Energy Cord

TECHNICAL SPECIFICATIONS

• Classification: Petar - Dual Double Bladed Daggers
• Size: Small
• Weight: Light

SPECIAL FEATURES
Using high tensile strength Duranium as the base with a Neuranium coating provides the weapon with a rather high durability with its construction. This allows the wielder to not worry about using it against lightsabers or other melee weapons. Resisting enough damage that it is a rather viable weapon in combat. Secondly, due to using a Mono-Molecular Energy Cord, the weapon has a very good cutting power. It's nearly on par with that of a Lightsaber in terms of ability to cut through metals and steels, however, due to its shorter blade length than that of a lightsaber, the thicker the material, the user will need to use multiple cuts to slice through, or an attempt to just puncture through said armor requires a little more force than your typical lightsaber.

While at first the Neuranium coating was used as a sensor jammer, allowing the wielder to pass it through scanners to take the weapons wherever they so desired. Thus getting them past scanning systems. Yet, the unique abilities of Rin, being that of a phaseling, is able to sense and manipulate gravity to a small degree. As such, a unique function that only Phaselings such as Rin can perform is altering the gravity of the weapon when in use to be extremely light when in her hands. Furthermore, while normally the weapon would strike only as hard as a Dagger-like weapon could, Rin can alter the gravitational density of the weapon a mere moment before the strike impacts. This allows Rin to impart a sudden massive kinetic blow and impact. It also allows her to more easily cut through materials that the weapons would naturally find difficult to cut through. However, doing so requires her active use of the force in order to do so.

STRENGTHS

• High structural durability - The blades and grip use duranium with a neuranium coating/superior edge, giving the set notably high toughness in melee. As stated, they can be used against lightsabers or other melee weapons, resisting enough damage to remain viable. In practice, that means the edges won't immediately deform under hard parries, and brief lightsaber contact or glancing blows are survivable without the weapon failing. The robust frame also tolerates clinch work, blocks, and weapon-to-weapon binds that lighter alloys might not.
• Near-Lightsaber - The cutting mechanism, a mono-molecular energy cord running the edges, pushes performance nearly on par with a lightsaber for slicing metals and steels. While not identical to a saber's continuous plasma edge, it provides extremely fine kerf cuts and aggressive bite on contact, allowing precise, short cutting actions that suit close-quarters fighting.
• Compact Blades - Small, Light, and built around a knuckle-guard format, the set is purpose-made for tight spaces and body-to-body distances where long weapons are clumsy. The finger holes/brass-knuckle grip keep the daggers secure during sprints, vaults, collisions, or when hands get slick. Excellent retention for a wandering fighter who may need to draw and move quickly.
• Dual Blades - With a blade set on each side of the knuckle grip, every hand naturally presents offense on forehand and backhand lines without re-chambering. That geometry supports quick trapping, hooking, and immediate follow-ups when an opponent slips a line, and it lets Rin work in mirrored angles with minimal motion.
• Scanner evasion - The neuranium coating doubles as a sensor jammer, letting the set pass through scanners. For a traveler taking odd jobs and moving through authorities or corporate checkpoints, that stealth factor is a practical safety/operational advantage. She can remain armed where others would be disarmed.
• Gravity manipulation synergy - Because Rin can sense and manipulate gravity to a degree, the set gains two unique combat benefits only in her hands Namely the ability to make it Feather-weight handling on demand. She can make the weapons extremely light in her grip, enhancing speed, recovery, and endurance during long engagements. Secondly she can provide a Mass spike at impact. A momentary density increase before the strike impacts to deliver a sudden, massive kinetic blow, helping the edge punch through tough materials and making short cuts bite deeper. This also partially offsets the inherent reach and leverage deficit of daggers.
• Human-fit ergonomics - Built to be used for Human Hands, the grip geometry, finger spacing, and overall balance are tuned to human proportions. Thus there is less hand fatigue, better leverage, and fewer fit issues across gloves or bare hands.

WEAKNESSES

• Short reach and leverage - Even with near-saber cutting performance, the short blade length imposes tactical limits. To affect thick material she must make multiple cuts, and to puncture she needs more force than a lightsaber would require. Against opponents with long weapons or strong guards, she must solve distance first. Her advantages appear after she's in close.
• Performance ceiling without the Force - The mass-spike and feather-weight handling are explicitly tied to Rin's active Force use. If she is tired, distracted, restrained, or operating in a Force-dampened/null zone, the weapons lose those unique boosts. They remain durable, light daggers with very good edges, but the signature "hit like a truck at the last instant" function falls away, reducing armor-punch reliability and the speed/endurance edge she enjoys when lightening them.
• Operator load - The pre-impact density surge must be timed a mere moment before the strike impacts. That split-second cadence adds cognitive load in a fast, messy fight. Mistimed spikes (too early/late) produce either sluggish recovery (if massed too soon) or ordinary dagger hits (if massed too late), and repeated focus under stress can contribute to fatigue.
• Collateral-control demands - Edges that cut nearly on par with a lightsaber raise the stakes in crowded areas. While the blades are short, a mono-molecular edge punishes small mistakes. Glancing contact with fixtures, gear, or bystanders can produce unintended cuts. The dual-edge layout around the knuckles also means there is always a live edge close to the user, increasing self-injury risk if a hand is jarred or grappling gets chaotic.
• Durability is high, not absolute - The weapons are able to resist just enough damage to be used against lightsabers. However, it is not immune to lightsabers. Prolonged blade-to-blade grinding, heavy saber pressure, or repeated high-heat contacts could still degrade coatings, stress the edge, or transfer heat into the frame. In other words: parry, don't dwell.
• Stealth cuts both ways - The sensor-jamming property that lets Rin carry the daggers through scanners also creates risk: if discovered, the presence of scan-evading weaponry can escalate penalties or suspicion. Practically, this is a contextual weakness. It helps until it doesn't.
• Training burden - A double-edged, knuckle-centric layout rewards practiced mechanics (angle discipline, holstering/drawing protocols, guard positions that keep live edges away from Rin's own forearms/hips). Without that discipline, the ergonomic advantages become hazards in scrambles.
• Niche optimization - Everything about the set. the size, weight, geometry is optimized for close-quarters. It's superb in clinches, alleys, and inside arm's length, but it brings no reach control and limited deterrence value at stand-off distances. Fighting against polearms or saberists who manage range, Rin must rely on movement and Force to enter.

DESCRIPTION
I carry a pair of small, double-bladed Petar that live on my hands like bad ideas I've already committed to. Duranium frames, neuranium on the edge and skin, mono-molecular energy cord riding the cutting lines. That's the build. They're tough enough to survive a heartbeat of saber contact and mean enough to eat through steel if I give them the time. The neuranium makes them quiet to scanners, which matters when you sleep in transit stations and take work where you find it; I don't flash them unless I have to. They're sized for human hands, four holes, tight rake; once my fingers are through, they're not leaving me unless I choose to let go.

The way I use them is all rhythm. I keep them light in my grip. Literally. I lean on the part of me that can nudge gravity so the frames feel like air while I'm moving, testing lines, shaping a guard. Elbows tucked, shoulders soft, hands high where I can write short angles without drawing big pictures. Then, at the instant steel needs to matter, I bring the weight back for a single beat, just before contact. That one breath of density turns a short kiss-cut or a small thrust into something that lands like a much heavier tool, and then I drop the mass again so I'm fast for the next beat. Light to move, heavy to hit, light again to live. If I mistime it, early on the change, then the hand feels sluggish, late and it's just a polite poke. I reset, re-lighten, and rebuild the exchange instead of forcing a bad idea.

These aren't reach weapons, so I pay the tax and close distance. I don't walk down the center into a longer blade. I take angles and steal distance behind cover, door frames, speeder fenders, the lip of a kiosk, anyone's shoulder if I have to. I make the tip miss by a thumb's width and slide down the forearm into the dead zone where long weapons have no leverage. Inside, the double edges around my knuckles earn their keep. I don't swing. I write. Short strokes, repeating tracks. The mono-molecular edge bites fast, but short blades don't buy miracles on thick stock, so I chain two or three precise cuts along the same seam, or I puncture and let a single mass spike carry me through. The frames post and pry like knuckles. Bump the wrist to break a grip, wedge a forearm to stall a reload, cut on the exit without changing hands. Retention is the point. Fingers through, edges always present on forehand and backhand without a re-chamber.

Against armor or heavy panels, I'm honest about physics. A lightsaber can draw one long line and be done; I have to stack work. I score, breathe, spike, and score again on the same lane, keeping every stroke short so the edge stays true and I'm not hanging out in harm's way. If it's a latch or a grill, two passes usually do it. But a bulkhead seam might take three. The material mix lets me catch another blade for a heartbeat. Light tap, displace, and go. But I don't grind against energy. "Resists" is not "immune," so I parry like I mean to leave. Pass the tip, shoulder the shaft, and only then let the edges talk.

Long reach is the honest counter. A spear, staff, or saber held by someone who won't overcommit can keep me outside where my knives are theory. There's no trick that erases that. I take what the street gives me: broken sightlines, steps, narrow doors, the moment a long guard has to choose head or legs. I bait the parry I want, slip into the lane it creates, and if I don't get the pass, I don't force it. These are close-quarters tools. If I can't make it close, I move until I can. When I do get in, everything is small and sure. Tap the guard, jam the limb, mass-spike the seam, out before the crowd realizes something happened.

The cost is discipline. There are live edges near my own hands, always, so I keep angles that don't sweep my forearms or hips when a clinch turns ugly. I count my breath when I'm tired. Two in, three out, so the mass spike lands where it should and not a half-second early. I check the frames because they're unique. Lose one and the whole dance changes. And I remember what these blades are for. Not theater, not dominance. Control at touching distance. In alleys, doorways, and the tight insides of a city, they make the space around me mine, one small, heavy heartbeat at a time.

I found them in a place that pretended not to exist. An alley behind an alley, the kind of corridor that eats footfalls and spits back coolant steam. The market there wasn't stalls so much as intentions. A blanket, a crate, a hand in a pocket. Everyone sold the same thing. Permission to be the version of yourself that the straight world won't allow. I was looking for Petar, real ones, and every time I said the word people looked at my hands first. "You're human," a woman with carbon scoring on her cheek said, like it was a problem to be solved. "The makers don't have as many fingers. You'll hate the bite." She wasn't wrong. I tried a dozen sets that day and every one felt like booking a passage on someone else's bones. Finger holes too few or too close, guards that chewed the wrong knuckle, balance that tipped forward when I wanted it neutral. I kept telling fences what I needed. Four clean rings, human spacing, and they kept handing me almost. Almost is how you cut your own hand in a hurry.

The pair I bought arrived in a cloth wrap that smelled like copper and dust. The broker called them "humanized Kyuzo," which was his way of saying they were black-market twins of something better, or worse, depending on what you want from a tool. No gold flourish, no temple engraving. Just dark, scuffed metal that looked like it had already survived a story. I slid my fingers through and felt the difference immediately. The four rings that didn't pinch, a frame that sat flat across my palm, the kind of balance that goes away when you move because it's doing exactly what you're doing. He thumbed a cell and the cord along the edge woke up. No hiss, just a brighter hunger in the metal. He handed me a scrap of decking and I wrote a short line across it, light, then another with weight. The first cut talked, the second listened. I asked about scanners and he smiled the way people do when they're proud of something they shouldn't be proud of. "Neuranium coat." he said. "The machine sees a shadow and thinks it's a shadow." I didn't promise I'd never test that claim. I just didn't argue with free advantages. Then we haggled, which is a polite word for how he watched me count credits twice while pretending I wasn't emptying my life onto his crate.

It cost me almost everything. Lodging for a week, three hot meals, a favor I was saving for a colder night. When you're on your own, "almost everything" is the price of choosing the future you want over the past you can still afford. I walked out lighter in a way that had nothing to do with gravity tricks and everything to do with risk. On the way back through the market I kept the wrap closed and measured the weight of them with my other sense. How easy they would be to make nothing in my hands while I moved, how hard I could make them at the instant they had to matter. I thought about all the wrong versions I could have settled for, all the almosts, and about how the people who made the originals carved them for fewer fingers and different bones. That's fine. These are mine. They fit my hands and my work. They take to my tricks without complaint. Light to move, heavy to hit, quiet to carry. I paid too much, which is another way of saying I paid exactly what they were worth to me, and I left with just enough credits to eat and nowhere new to sleep. But I had a pair of knives that would let me keep moving toward the version of myself I'm trying to become, and that's worth more than a soft bed on the wrong side of a locked door.

 

[MANIAC]

Rin Aikawa

Amazing as always.

Approved.