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MYŌ-Ō ENGEI; "Performance of the Enlightened Ones" is a school of martial arts that came into existence two millenia ago under the unification of disciplines from four other schools. The four original schools have long since declined as students eventually flocked to the fifth, but even the fifth would fall into decline with its last known successor, Yen Sin, being declared around one millenium ago. The strict practice of isshi sōden, which meant that the master could only pass the secrets on to only one successor, and their rite of passage trial, which essentially kills the participant should they fail, were major influences on the decline. The style teaches the fundamentals of the original four schools and a final technique to those deemed worthy that have passed the rite of passage trial.

HAYAGAWARI; The fundamental technique of the followers of Kōmoku-ten, he who sees all and guards the west. While this is a movement technique, it is not actually hohō. Instead of focusing on the interaction of one's feet with reishi to improve movement, this technique controls the reishi that comprises the body directly and in doing so can provide movement at high speed without any external stimulus. As such, it functions similarly to the Ransōtengai of the Quincy in making the user's body their puppet. However, since it is the limb itself as opposed to strings of reishi being controlled, the performance still suffers if the limb is disfigured though movement through paralysis is still a capability. It is comparable to a solid container holding a liquid where the liquid has a will of its own will. If the liquid were to shift to one side, the container would move with what appeared to be no provocation. One's speed in this ability is limited to their speed in shunpo, and those who can leave after-images with shunpo can do the same with this technique. However, it is far less effective for traversing distances and only advantageous in immediate shifts of the body, such as to parry. The name comes from a kabuki stagecraft trick in which an actor's costume is quickly changed while they are on stage and means "quick change."

YATAI KUZUSHI; The fundamental technique of the followers of Jikoku-ten, he who upholds the realm and guards the east. Of the four techniques, this is the strongest in terms of shear destructive power. In essence, this is a condensed form of shunkō, although it is based more on bakudō than hadō. It surrounds the user's hands in a thin layer of bakudō that functions similarly in fashion to Tenteikūra, Millón Escudo, and Seki. The simplest description of it would be to call it a transmitter. On the user's end of the aura, energy and forces are amplified. On the other side, these forces and energy become absorbed. As a result, while shunkō is capable of simply blocking attacks, this has the capability of taking an incoming attack or impact and causing it to fire back upon the offender so long as the user supplies enough spiritual energy to the point(s) of contact. The coating also causes the damage of a strike to transmit across a foot diameter from the center of focus. By condensing the ability into a single hand and relinquishing use of the hand for ten posts, the user may focus a high intensity convergence of force at a point of contact with the designated palm. This force is so great that it sears the area of impact, leaving a cross-shaped burn and dealing damage equivalent to a Gran Rey Cero. The name comes from a kabuki stagecraft trick in which on-stage edifices are dramatically destroyed and means "pulling down a festival float."

SERI; The fundamental technique of the followers of Zōjō-ten, he who causes to grow and guards the south. It is perhaps the most simple of all four fundamental techniques, as it is simply movement with a strong force. Reiatsu is rotated around a single point, normally a limb, for a single and powerful strike. The strike is normally never meant as a killing blow or even to deal damage. Instead, the goal is to produce a strong vortex. The rotating reiatsu is amplified during the strike in order to produce a vacuum effect. Use of this ranges from throwing a target off balance to actually drawing the target closer to the user. Practitioners of this technique utilize it to increase the effectiveness of their hakuda, allowing them to make themselves appear more overwhelming than they normally are. The name comes from a kabuki stagecraft trick in which a stage trap lowers or raises an actor and means "trap."

MAWARI-BUTAI; The fundamental technique of the followers of Bishamon-ten, he who hears everything and guards the north. Through training that involves the self-deprivation of all senses, one is left with their sixth and capable of learning to utilize it at remarkable levels. Through this training, one becomes absurdly skilled with the manipulation of their very senses. They become capable of shutting them off at will or "stunting them." The latter proves useful when one chooses to abandon a sense to strengthen another, but doesn't want it distributed amongst all of the remaining senses. This manifests in battle as limited precognition, where the user is capable of sensing the intent behind an attack and can react accordingly if they possess the speed to. At base level, however, this only grants them the direction of attack once it enters into a ten meter radius of them, where reaction to the assault is up to their physical limitations. This sensory functions even in the absence of other senses within the radius, though assaults from further away are not detected until they enter the field. While this aids them in the sense that the user become less susceptible to sneak attacks, it does not bolster their speed and thus they can still fail to react in time. When it comes to enhancing the sixth sense further, the practitioner may only do so if they remove their sense of sight. Under this condition the user becomes capable of strengthening the sixth sense and expanding its range tenfold. The limited precognition now allows them to instinctively know how much damage they will take due to a short premonition of the result within their mind's eye. This does not actually give them detailed understanding of the assault, but it alerts them to the general consequences of taking the assault, such as injury or potential death. Detection of hidden presences also becomes possible in this more focused state. The name comes from a kabuki stagecraft trick in which a circular platform on a stage is rotated and means "revolving stage."