Plot
In an unexplored region of China wrapped in mystery, Ryuhi, a boy, was born and brought up in high mountain tops. There he received instruction from his wise teacher, Juan. Though he was young, he made himself a master of Kempo.
One day, his teacher Juan was attacked and robbed of the Secret Scrolls of Hiryu-no-Ken, of which he was the author. Ryuhi possessed the 6th volume of the Secret Scrolls, the Shingan-no Sho, or book of the mind's eye which Juan had managed to save. Ryuhi begins his journey to Shorinji in compliance with Juan's last request. Gengai, the bishop of Shorinji welcomed the little Ryuhi, regarded as one of the titans of Shourinji Kempo.
Six years later, they received a letter of challenge from the Tusk Soldiers, a mysterious organization of enemies of the Shorinji. Ryuhi is determined to take part in the upcoming "World Tournament of Contact Sports" as a representative of Shorinji. His desire is to prevent the Tusk Soldiers from becoming champions of Contact Sports at the tournament.
Ryuhi heard from Gengai that in truth it was the Tusk Soldiers who attacked his teacher and robbed him of the Secret Scrolls. As he leaves for the World Tournament, his thoughts are on his teacher Juan and keeping the fighting spirit burning.
Read more about this topic: Flying Warriors
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“There comes a time in every man’s education when he arrives at the conviction that envy is ignorance; that imitation is suicide; that he must take himself for better for worse as his portion; that though the wide universe is full of good, no kernel of nourishing corn can come to him but through his toil bestowed on that plot of ground which is given him to till.”
—Ralph Waldo Emerson (1803–1882)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)