Type-Moon Assassination Fist 2

Type-Moon Assassination Fist 2

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Edited by: Tiny Fan Fiction

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Chapter 2: Do Not Use the Dragon

In fact, Kuzuki has started to lean towards the third option being correct.

Both guesses include the element of “human-made,” leading to unanswered questions.

Why is this done? What benefits does it bring?

Both guesses lack necessary motivation and purpose, which has led Kuzuki to increasingly consider the third guess as true.

The vastness of the time scale can also demonstrate this… aside from “The Matrix,” if we don’t consider that possibility.

If I am indeed a time traveler, my immediate priority is to adapt quickly to the environment and maintain my usual habits, as “group” appears to be a dark organization engaged in illegal activities. Any deviation could lead to suspicion and elimination.

As Kuzuki contemplates his next steps, he suddenly hears footsteps approaching from a distance.

He immediately sits up straight, appearing refreshed as if just woken from sleep.

A tall figure enters the room; this is Kuzuki’s instructor, codenamed “蛇” (Sake), with an identical appearance to his nickname. The instructor looks at him coldly and asks in a flat, unemotional tone: “How are you feeling? Can you still exercise?”

Kuzuki’s demeanor mirrors the instructor’s perfectly; he responds in a similarly formal manner: “I’m fine, able to exercise.”

The instructor nods slightly and says, “If there are no issues, don’t stay here too long. If managers find out, it might cause unnecessary complications.” After finishing his words, he doesn’t seem to pay attention to Kuzuki’s reaction and leaves the room promptly.

The instructor’s words leave Kuzuki momentarily stiff. From memory, any member of his group who arouses managers’ attention is usually eliminated—either by torture or combustion, depending on the manager’s mood.

In the face of such threats, Kuzuki’s emotional resilience isn’t sufficient to completely remain indifferent; this causes some fluctuation in his demeanor. Previous versions of him wouldn’t display such reactions. However, even someone as sharp as a snake can’t be aware of every detail around them at all times, so the instructor didn’t notice any changes in Kuzuki’s appearance.

His disguise remains hidden for now.

After the instructor leaves, Kuzuki heads back to the infirmary and proceeds along the path he remembered, arriving at a place that feels very familiar.

A small, dilapidated wooden house nestled in the mountains.

Inside, there’s only a bed, table, and chair—nothing extra.

The familiar setting gives Kuzuki a moment of relaxation, though his heart remains heavy.

Kuzuki doesn’t know the true nature of “group,” as there’s limited information about it in memory.

It’s described as being in a remote mountainous area, far from any settlements, producing “tools.”

These “tools” are raised from childhood and educated by “group,” preparing them for their roles.

Kuzuki, as a tool, doesn’t need to perform any tasks regularly. He only needs to train the techniques taught by his instructors. For seventeen years, he has never left this ten-mile forest surrounded by the instructors’ compound. All he does daily is repeating the techniques that suit him best and waits for the day when he can be used.

Hundred Snake Techniques (Snake Arts).

The name of the technique taught by the instructor, as the name suggests, is one that can make the body as flexible as a snake. It also possesses extraordinary strength and unexpected power.

This was decided by “Group” requirements.

Assassins.

Without weapons but using bare hands is to get closer to the target easily, since it’s an assassination. It makes sense that they want suddenness and strength in their techniques.

Kuzuki hasn’t rested for too long.

Each tool has someone watching over it. Kuzuki is no exception; to avoid suspicion, he begins his exercise as he always does, staying inside the wooden hut.

Hundred Snake Techniques (Snake Arts) doesn’t have a large movement range, so in this small wooden hut, they can be performed freely.

However, when Kuzuki actually performs the techniques inside the hut, he suddenly wonders if these are truly his own skills or actions.

“This is really what I possess? Or am I capable of doing this?” Kuzuki asks himself genuinely.

Although his memory does contain information about him training in the techniques, understanding and performing them through one’s own body are entirely different things.

Even though it is a simple alternating punching technique, from outside, it looks like a rain of punches.

“Grr!”

The sharp whistling sound of the air makes his arms feel weightless, like whips, swinging them without any bones. His movements are sudden and erratic, yet they carry a fierce strength. Just looking at it, you can feel the force contained in his fists; if hit, they would penetrate like bread.

Both heavy and sharp.

The ten-nine art·serpent fang technique, the ninety-nine art·wild bite technique, etc., are also used by Kuzuki. These are all extremely unusual techniques that mix both softness and sharpness.

Hundred Snake Techniques (Snake Arts)·Cone Kill.

All these strange and incredible techniques are performed by Kuzuki, one after another until completion.

Time seems to stand still for him. It’s as if there is an invisible alarm clock ticking at a certain time; when it reaches 19:00, he stops exactly on time.

He didn’t realize how long he had been in there until another memory took over his mind. Despite the hours of intense physical exercise, he still feels like there is some extra energy left.

“I seem to have fallen into it without realizing, was it from another memory’s influence?” Kuzuki doesn’t feel much sweat despite the long and arduous workout. However, his appearance shows that he has more strength than needed. “Not only power and agility but also physical strength is something scary.”

Although this body exhibits extraordinary abnormalities from a human perspective, it is still fundamentally human. After expending significant energy, hunger quickly follows.

“Group” naturally treats “tools” with care.

Not only does it provide resources and attention, but each “tool” also receives dedicated food supplies, medications, and personalized guidance. Even the effort required to master Hundred Snake Techniques (Snake Arts) is immense, exceeding millions in cost alone, let alone the crucial time involved.

Outside the wooden hut, there is a stone platform where daily meals are placed in the morning, afternoon, and evening.

Consequently, Kuzuki has developed an unusual sleep-wake cycle through long-term habits. Even while meditating, they always return to full alertness on time and precisely at the appointed hour.

They have consumed three times their usual portion of food… reaching 90% satiety according to Kuzuki’s standards.

After that, there is a thirty-minute period dedicated solely to digestion and absorption.

Kuzuki sits confidently on the bench, beginning his thoughtful deliberation.

At this point, Kuzuki has no choice but to either resist or comply with their fate.

“Given my current strength, attempting to rebel against ‘Group’ is futile. Even if a superior officer were to confront me, I would be at a disadvantage.” Kuzuki’s furrowed brow and clenched fists convey his determination.

Hundred Snake Techniques (Snake Arts) is an exceptional martial art with immense power.

However, it has both strengths and weaknesses.

One notable characteristic is that it is difficult for those unfamiliar with the technique to master. Even someone far more powerful than Kuzuki might struggle in their first encounter. Yet, for those well-versed in the art, it becomes routine.

The officers are undoubtedly proficient in Hundred Snake Techniques (Snake Arts).

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