There was a reason why Force arts were mainly ied.

  Passing down personal style was challenging—after all, even a father and son didn’t share identical approaches or is. But Force type? That was a different story. Imagine iing your parents' genes and physical traits but not their Force type.

  Unthinkable.

  Force types were intricately tied to physical attributes: body shape, weight, height, limb length and reach, flexibility, eyesight, sense of smell, hearing, taste, and touot to mention spatial and gravity perception, pain aolerance, and even bodily disabilities.

  People evolved acc to their surroundings too. Smaller eye openings, rger or smaller hicker or thinner lips, varying skin tones, eye colors, and hair colors—all these traits adapted to enviroal ditions.

  The first geion who created Force arts kheir bodies i. They uood their physical qualities so thhly that they awakeheir Ford crafted a style perfectly suited to their uributes.

  No matter what one might say, Force art wasn’t created to be an equal struggle for each person like Vision art.

  In the diverse types of Force users, there were those who had hit the geic lottery of great height, weight, and reach. These titans wielded their size like a on, opting for colossal instruments of destru such as halberds and greatswords.

  Their style was less about finesse and more about ensuring that when they finally nded a blow, it was devastating enough to be worth the wait. Slow and steady wins the race, they said—though usually after fttening everything in their path.

  Then there were the nimble dancers of the battlefield, iors of exceptional agility and flexibility. These Force users moved like the wind, masters of dodging and delivering quick, precise strikes.

  They favored lighter ons like daggers or rapiers, priding themselves on being fast, fluid, and about as predictable as a cat on ip. Their philosophy? "Why get hit when you prance around your oppo like it's a ballet recital?"

  up, the sensory savants, those blessed with superior senses. Be it eyesight, hearing, or smell, these Force users had an awareness of their surroundings that bordered on the supernatural.

  They exploited this gift with ons and styles that pyed to their strengths—archery for the eagle-eyed and stealthy maneuvers for those with bat-like hearing. They were the ones who could hear a pin drop in a battlefield and then shoot it with pinpoint accuracy.

  There were also the human tanks, those who ied outstanding endurance, pain tolerance, and physical resiliehese stalwarts could weather blows that would fell lesser beings, standing firm where others would crumble.

  They favored defensive ons and styles, often ag as living shields for their allies. Their motto? "You 't hurt me if I'm too stubborn to fall."

  The speed demons were always a blur otlefield, iing exceptional speed to the point where they seemed to be everywhere and nowhere at once.

  They strud retreated before their enemies even knew what hit them, fav light, fast ons. Their erategy revolved around hit-and-run tactics, leaving their foes spinning in fusion.

  Then there were those with superior spatial and gravity perception. These individuals had an uny ability to judge distances and trajectories, making them deadly accurate.

  They preferred ranged ons or throwing ons, utilizing their i uanding of physics to devastating effect. They could probably win a game of darts with their eyes closed.

  Among them were the adaptive fighters, those who ied specific adaptations to their enviro. Whether it was a keen sense of smell or excellent night vision, these Force users tailored their bat styles to exploit these traits.

  They often used unique or unusual ons that matched their specific attributes, proving that there's a tool for every job, especially if you're iive enough.

  And finally, there were the resilient reformers, Force users who ied bodily disabilities but turhese perceived disadvantages intths.

  They crafted a Force type that pensated for their disabilities, often being more formidable than their so-called 'able-bodied' peers. They took the phrase "what doesn't kill you makes you stroo airely new level.

  These Force types were just a glimpse into Force arts. It was a testament to the adaptability and innovative spirit of the creations, ever evolving and refining their uanding of the Force.

  So, essentially, it was a bit like turning a family recipe into a fast-food franchise. The secret sauce got passed down through the geions, maintaining its core fvor, but over time it was ercialized, packaged, and sold as a "type".

  And now? Well, everyone became a oisseur. They were no longer satisfied with just "spicy" or "sweet". They wao categorize the types based on every imagirait: the cutlery used, the cooking teique, the ideal temperature, the pairings.

  Was it a steak knife Force or a butter knife Force? Would it be a stir-fry or a slow roast? Was it served hot or cold? Did it go well with a side of stealth or a dollop of destru?

  But…

  "Your father had his own style of Force that I’m sure wasn’t passed down from his parents. Yet, it was unmistakably the Edensor Royal Family’s Force art."

  Style.

  Something that couldn’t be ied easily and could differ wildly from a Force user's parents or aors.

  "Edensor Royal Family’s Force art? Fshy. Powerful. Forceful. They wielded their great physique and raw strength like a battering ram, bolstered by tank-like endurance. You see, like Soulnaught, the first king of Edensor was a warrior knight. He fought valiantly with honor, so naturally, it was supposed to be a straightforward, no-nonseype," Burn expined.

  He khis not just because he had seen Belezak fight, but also because he had withe Edensor Royal Family branches in a. All those who ied the Force art had this straightforward, smash-you-in-the-face feeling.

  Except for King Belezak himself.

  Oh, of course, he could smash you, no question, but…

  "What's the word... he's... patient," Burn muttered, a shiver running down his spine. "And uanding."

  "Loving, as you said?" Yvain asked, finishing his weighted pnk.

  "That," Burn nodded. "I first thought that his style, despite the Force art his family taught him, was more subdued, more humble, more benign and unfshy, but still straightforward and strong. I figured he was just serving his energy and hiding his power. But I was wrong."

  “Actually, he was just… being kind,” Burn muttered. “Belezak approached everything with his political point of view.”

  “I thought he was looking down at his students, or he wasn’t serious at all, but actually, he was being ‘political’!” Burn emphasized on the word political.

  In truth, the word "political" didn’t mean just a mere aanipution or deception, as Burn had initially assumed. It wasn't about looking down on others or serving one's power behind a mask of humility.

  Well, it was much more ing and admirable than that.

  Belezak, with his patiend uanding, his seemingly subdued style and humble demeanor, was actually having a fug “political” bst. He approached situations not with arrogance or indifference, but with a strategid and a diplomatiesse that few could match.

  While Burn had thought Belezak was simply being kind, iy, he was exerg a level of wisdom and fht that surpassed mere kindness. Every move, every word he taught was carefully chosen not out of weakness but out of a keen awareness of the politidscape surrounding him.

  To Burn's surprise, what he had mistaken for aloofness or ck of seriousness was actually a calcuted approach to uanding and navigating the plexities of retionships and power dynamics between his students.

  Belezak wasn't holding back his power; he was eling it through the els of influend persuasion, like a true political virtuoso.

  In fug Force training!

  So, being "political" in Belezak's world wasn't about iving schemes or selfish gains. It was about being strategic, about knowing when to assert oneself and when to yield, about seeing the bigger picture and choosing the path that best served not only oneself but others as well.

  He even put “Love” into “Politics”!

  Belezak defined “Politics” in its most literal sense, as "Being Wise" and "Doing What’s Best iain Situations for Everyone’s Equal Be."

  In Belezak's world, politics was a harmonious utopia where everyone skips hand in hand towards equal be, like a children tent with fewer singing animals and more diplomatic resolutions. It was a beautiful, rose-tinted view of the cutthroat world of politics, but he was determio make it work.

  "But he wasn’t naive like you. He knew full well of reality and what it could do to him," Burn said. "Too bad that only knowing could bring him so far."

  “So… for Father, his power was never about power itself. It was always about his ultimate iion?" Yvain asked. "You mean, he would mold his Force to create a fight that wasn’t for the sake of fighting itself, but to ge people's minds?"

  “Yes," Burn said. “It was expinable and unexpi the same time. Force, in the end, is an art that was created by creations. Thus, iion could, in theory, be its best window for mastery."

  Yvain fell into silence. Iion… "It’s the plete opposite of specialties in Vision art…"

  “That sounds so clear.”

  Suddenly Man said.

  Burn and Yvain turo the woman who had been sprawled on the ground just a moment ago, listening to their versation all this time. She now y sideways on the ground and no one saw her transition from a floor oro an alluring actal seductress.

  “I’ve never heard Force art being expined so clearly to me like this. I uand it better now,” she said.

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  Man, writing chapters 96, 97, and 98 was tough. A chapters are a bst, but they seriously fried my braie that, I love how they turned out. I'm thinking of ing up this arc around chapters 105-110. It just flew by, wtf...