Difference between revisions of "Okina Matara"

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==Background Information==
 
==Background Information==
 
===Name===
 
===Name===
Her full name is {{nihongo|''Okina Matara''|摩多羅 隠岐奈}}. The first kanji in ''Okina'', 隠 (''o''), means "hidden". 岐 (''ki'') could mean either "crossroads" or "theatre". 奈 (''na'') can refer to [[wikipedia:Naraka|Naraka]] (奈落), the Hindu and Buddhist version of hell (also known as ''Jigoku'' 地獄 in Japan), or to "the basement of a theatre". Altogether, Okina (隠岐奈) translates to something like "hidden hell theatre" or "hidden crossroads [in] hell/a theatre's basement". Additionally, Okina (隠岐奈) is homophonous to ''Okina'' (翁 lit. "old man"), the name of a [http://db2.the-noh.com/edic/2013/02/matarajin.html mask], used in [[wikipedia:Noh|Noh]], [[wikipedia:Kyogen|Kyogen]], and [[wikipedia:Sarugaku|Sarugaku]] performance. In Japanese [[Buddhist]] religious performances the mask represents a [http://www.lincolncenter.org/article/masks-of-noh god of the same name] often conflated with Matarajin. ''Matara'' (摩多羅) comes from the first three kanji of '''Matara'''jin ('''摩多羅'''神 lit. "god of matara") and is the Japanese transcription of the Sanskrit plural for mother, [[wiktionary:मातृ|mā́taraḥ (मातर)]]. Thus, the kanji in Matara/Matarajin have no real meaning besides to mimic the sounds of the foreign "mā́taraḥ". Matarajin contains the Sanskrit plural for mother in his name due to his association with several female deities including, but not limited to: the [[wikipedia:Dakini|dakini]], [[wikipedia:荼枳尼天|Dakiniten]], [[wikipedia:Benzaiten|Benzaiten]], [http://seesaawiki.jp/toho-motoneta_2nd/d/%C8%EB%B5%B7%A1%D6%E3%D2%C6%E1%A4%CE%B2%D0%A1%D7 Ena-Tenjin], [[wikipedia:Hariti|Hariti (Kishimojin)]], [[wikipedia:Mahakali|Mahakali]], [https://japanshrinestemples.blogspot.com/2017/08/chijin-earth-god.html?m=1 Kenro Jijin/Kenro Jiten (Prithvi)], and, mainly, the [[wikipedia:Matrikas|Saptamatara/Saptamatrika (Shichimoten)]].<ref>[http://www.kawade.co.jp/np/isbn/9784309224947] "闇の摩多羅神/Yami no Matarajin" by Minato Kawamura</ref><ref name="faure">[https://www.uhpress.hawaii.edu/title/protectors-and-predators-gods-of-medieval-japan-volume-2] "Protectors and Predators: Medieval Gods of Japan Volume 2" by Bernard Faure</ref><ref name="daikoku">[http://www.onmarkproductions.com/Daikokuten] "Daikokuten Iconography" by Mark Schumacher</ref>
+
Her full name is {{nihongo|''Okina Matara''|摩多羅 隠岐奈}}. The first kanji in ''Okina'', 隠 (''o''), means "hidden". 岐 (''ki'') could mean either "crossroads" or "theatre". 奈 (''na'') can refer to [[wikipedia:Naraka|Naraka]] (奈落), the Hindu and Buddhist version of hell (also known as ''Jigoku'' 地獄 in Japan), or to "the basement of a theatre". Altogether, Okina (隠岐奈) translates to something like "hidden hell theatre" or "hidden crossroads [in] hell/a theatre's basement". Additionally, Okina (隠岐奈) is homophonous to ''Okina'' (翁 lit. "old man"), the name of a [http://db2.the-noh.com/edic/2013/02/matarajin.html mask], used in [[wikipedia:Noh|Noh]], [[wikipedia:Kyogen|Kyogen]], and [[wikipedia:Sarugaku|Sarugaku]] performance. In Japanese [[Buddhist]] religious performances the mask represents a [http://www.lincolncenter.org/article/masks-of-noh god of the same name] often conflated with Matarajin. ''Matara'' (摩多羅) comes from the first three kanji of '''Matara'''jin ('''摩多羅'''神 lit. "god of matara") and is the Japanese transcription of the Sanskrit plural for mother, [[wiktionary:मातृ|mā́taraḥ (मातर)]]. Thus, the kanji in Matara/Matarajin have no real meaning besides to mimic the sounds of the foreign "mā́taraḥ". Matarajin contains the Sanskrit plural for mother in his name due to his association with several female deities including, but not limited to: the [[wikipedia:Dakini|dakini]], [https://ja.m.wikipedia.org/wiki/荼枳尼天 Dakiniten], [[wikipedia:Benzaiten|Benzaiten]], [http://seesaawiki.jp/toho-motoneta_2nd/d/%C8%EB%B5%B7%A1%D6%E3%D2%C6%E1%A4%CE%B2%D0%A1%D7 Ena-Tenjin], [[wikipedia:Hariti|Hariti (Kishimojin)]], [[wikipedia:Mahakali|Mahakali]], [https://japanshrinestemples.blogspot.com/2017/08/chijin-earth-god.html?m=1 Kenro Jijin/Kenro Jiten (Prithvi)], and, mainly, the [[wikipedia:Matrikas|Saptamatara/Saptamatrika (Shichimoten)]].<ref>[http://www.kawade.co.jp/np/isbn/9784309224947] "闇の摩多羅神/Yami no Matarajin" by Minato Kawamura</ref><ref name="faure">[https://www.uhpress.hawaii.edu/title/protectors-and-predators-gods-of-medieval-japan-volume-2] "Protectors and Predators: Medieval Gods of Japan Volume 2" by Bernard Faure</ref><ref name="daikoku">[http://www.onmarkproductions.com/Daikokuten] "Daikokuten Iconography" by Mark Schumacher</ref>
  
 
'''Okina's name in relation to the Oki Islands'''
 
'''Okina's name in relation to the Oki Islands'''

Revision as of 08:31, 7 March 2019

摩多羅 (またら) 隠岐奈 (おきな)
Okina Matara
Matara Okina
Okina Matara as the Extra Stage Boss of Hidden Star in Four Seasons
The Ultimate, Absolute Secret God
More Character Titles
Species

Secret God

Abilities

Creating doors on the back of anything
Manipulation of life energy
Manipulation of mental energy

Age

Older than Gensokyo itself

Occupation

Sage; maintains Gensokyo's balance

Location

Land of the Back Door

Music Themes
Appearances
Official Games
Print Works

Okina Matara (摩多羅 隠岐奈 Matara Okina) is the main antagonist of Hidden Star in Four Seasons. She is a secret god and one of the Sages of Gensokyo.

General Information[edit]

Okina first appears as both the final boss and extra stage boss in Hidden Star in Four Seasons.

A hidden god of multiple faces and roles, she has remained out of sight for some time until the events of Hidden Star in Four Seasons. As one of the Sages, she has helped to create the Gensokyo of today. Currently, she maintains its balance and protects it from the Outside World.

Personality[edit]

She is said to be a the spitting image of a classic god, having no mercy for those who disrespect her and graciously blessing those who revere her. Though described as "hidden", her true form is the same as the face she shows publicly, a chaotic mashup of the aspects of several gods. During and after the Four Seasons Incident, her personality is shown to be that of an ostentatious, confident, and prideful person, making magnificent displays of her power in order to bring attention to herself. Okina seems to somewhat pity her servants, wishing to release them from their position (although it's unknown whether she actually feels this way, as it's revealed in Hidden Star in Four Seasons that she may not have even intended to replace them at all).

Abilities[edit]

Creating doors on the backs of anything

Okina can create doors back of anything, even living beings. The back doors act like portals and allow her to travel wherever she wishes, or to send something to somewhere else. Creating a back door on a living being allows her access to the energy of said living being. For example, The Four Seasons Incident started when Okina powered up the denizens of Gensokyo by pouring life energy into the doors on their back. The effect was particularly pronounced when Okina powered up fairies, beings who are intrinsically tied to nature. Those with Okina's back doors on their bodies are able to further power themselves up by collecting seasonal energy. Okina can take away the seasonal energy from those using her doors and expell them from the Land of the Back Door. She is unable to collect the energy of doyou, the period between seasons, as it would harm her. Each being in Gensokyo has a corresponding seasonal door. For example, fairies like Cirno and Eternity Larva should have summer doors (though, in the case of Eternity, her door actually corresponded to doyou, implying that she may not be a fairy at all). It may be that seasonal doors are interpersonal even within species, however, as Reimu and Marisa (both human), have different seasonal doors in the forms of spring and winter respectively.

The doors connect to the extradimensional Land of the Back Door, through which a number of other doors of Okina's creation are accessible. These doors all connect to various places in Gensokyo and it seems anyone can go through them. It's currently unknown if Okina can control who can go through her doors, however it's implied that she can as she is able to cut off access to them at any point according to Aya Shameimaru's Extra Scenario in Hidden Star in Four Seasons.

Manipulating life energy and mental energy

Okina possesses the abillty to manipulate both life energy and mental energy. She lends this power to her servants Satono Nishida (mental energy) and Mai Teireida (life energy) and the two are described as "extensions" of Okina's power. Okina's profile states that she suddenly gained these abilities at some point in the past, likely before the creation of Gensokyo.

Life energy is primarily used by Okina to tamper with nature. In Hidden Star in Four Seasons, she poured life energy into the backs of Gensokyo's residents, powering them up temporarily. When Gensokyo's fairies were powered up, the seasons began to wildly fluctuate throughout the land. The seasonal energy that this created can also be manipulated by Okina. In Chapter 42 of Wild and Horned Hermit, Okina was revealed to be able to create youkai by using life energy. She created Aunn by opening a back door on a komainu statue and pouring life energy into it. In the same chapter she offers to make it spring so that the flowers could bloom, confirming she has direct control over the seasons. She also boastfully states that she can recreate the entirety of Gensokyo if she so pleases. In this light, it appears Okina's manipulation of life energy allows her to create life or take life at will.

Okina's manipulation of mental energy has never been demonstrated or mentioned so far, so its mechanics are unknown. It may, however, have to do with the slave-like devotion her servants have for her.

Background Information[edit]

Name[edit]

Her full name is Okina Matara (摩多羅 隠岐奈). The first kanji in Okina, 隠 (o), means "hidden". 岐 (ki) could mean either "crossroads" or "theatre". 奈 (na) can refer to Naraka (奈落), the Hindu and Buddhist version of hell (also known as Jigoku 地獄 in Japan), or to "the basement of a theatre". Altogether, Okina (隠岐奈) translates to something like "hidden hell theatre" or "hidden crossroads [in] hell/a theatre's basement". Additionally, Okina (隠岐奈) is homophonous to Okina (翁 lit. "old man"), the name of a mask, used in Noh, Kyogen, and Sarugaku performance. In Japanese Buddhist religious performances the mask represents a god of the same name often conflated with Matarajin. Matara (摩多羅) comes from the first three kanji of Matarajin (摩多羅神 lit. "god of matara") and is the Japanese transcription of the Sanskrit plural for mother, mā́taraḥ (मातर). Thus, the kanji in Matara/Matarajin have no real meaning besides to mimic the sounds of the foreign "mā́taraḥ". Matarajin contains the Sanskrit plural for mother in his name due to his association with several female deities including, but not limited to: the dakini, Dakiniten, Benzaiten, Ena-Tenjin, Hariti (Kishimojin), Mahakali, Kenro Jijin/Kenro Jiten (Prithvi), and, mainly, the Saptamatara/Saptamatrika (Shichimoten).[1][2][3]

Okina's name in relation to the Oki Islands

The first two kanji in Okina, 隠岐 (oki), make up the name of the Oki Islands (隠岐諸島). The Oki islands is where the story of the White Hare of Inaba supposedly took place. In said story, the god Okuninushi helps direct the hare to heal himself after noticing the hare was flayed. Okuninushi is said to be one in the same with the god Daikokuten, who is the Japanized version of Indian god Shiva's ultimate form, Mahakala.[3] Early on, Mahakala/Daikokuten was associated with a retinue of demonesses including the dakini and the seven mothers (Saptamatrikas/Shichimoten). In fact, the first time the name "Matarajin" appears in Japan is to describe the demonic three-headed yakshajin of Toji, who appears to be modeled after Mahakala.[2]

Origin[edit]

She is based on Matara-jin (摩多羅神), an obscure, multifaceted God primarily of the esoteric Tendai Buddhism sect, introduced by Ennin. Commonly seen with two servants, Teireita and Nishita, Matara-jin came to be called many names, conflated with other deities, or associated with or became the patron of multiple things.

Design[edit]

She has long, blonde hair and yellow eyes, which eye color changes into orange in the Extra Stage. She wears a yellow tabard adorned with a constellation pattern of stars representing the Big Dipper. She wears a green skirt and black boots, and on her head is a three-point hat.

Her stage 6 portraits depicts her sitting on a "throne" and bearing a mirror-like drum. The throne has a backdoor installed in it, out of which flames in four colors emerge, each representing one of the four seasons.

Her extra stage portrait no longer has the throne and mirror, but the flames are still present. Instead, she has a wireframe-like door in front of her that she is looking through.

Story[edit]

Games[edit]

Hidden Star in Four Seasons
Okina's final stage boss sprite in HSiFS
Okina's extra stage boss sprite in HSiFS

Okina emerges from obscurity, wanting to find new replacements for her servants, Satono and Mai. She orders her servants to plant doors on the backs of others and empower them, with the purpose of bringing out their best to see if they are worthy of being Okina's servant. Empowered fairies cause the seasons to go haywire, which causes the player characters to act. Deeming the player characters unworthy, she defeats them by taking the power they've gathered and expelling them to the beginning using the "door of seasons" planted on their backs. After gathering the lifeless boundary between seasons instead, preventing Okina from ejecting them again, the player returns and manages to defeat her. However, Okina's true goal is simply to stand out and make a show of her power, to engrave herself in the hearts and minds of everyone in Gensokyo once again.

Violet Detector

Okina confronts Sumireko Usami in the Dream World. She is fascinated by her struggle and decides to help her through her ordeal by lending some power. When the Sumireko she helped finally meet with her other self, the real Sumireko, Okina takes back the power she lent her to make the fight fair.

Literature[edit]

Wild and Horned Hermit, chapter 42

Okina shows up at the last Hakurei Shrine flower viewing party of the season, that followed the Four Seasons Incident. She mainly came to make sure people were talking about her, as making her presence known to the current Gensokyo was her goal.

Relationships[edit]

Satono Nishida and Mai Teireida

Loyal servants of Okina. Vessels of her power, they act as extensions of her and unflinchingly obey her orders. They seemingly lack the free will to question otherwise. They are becoming less human due to Okina's influence and have little memory of their past, yet maintain their personalities. Whether because they're no longer useful or she pities them, Okina seeks to replace them, which she has periodically. However, after failing to find any, she says she is fine with retaining them. Satono and Mai do not know they are even searching for their own successors.

Sages of Gensokyo[edit]

Yukari Yakumo

It's implied in Reimu's extra stage in Hidden Star in Four Seasons that the two are familiar with each other, and that Yukari helped Reimu defeating Okina by suggesting her to use the "boundary between seasons" to fight her. Okina recognized Yukari's modus operandi, while Reimu said she didn't understand the logic behind the countermeasure method she was using.

Kasen Ibaraki

In chapter 42 of Wild and Horned Hermit, Kasen reveals to Aya Shameimaru that Okina is one of her old acquaintances, and commented how it was a misfortune that she had known her.

Gallery[edit]

Spell Cards[edit]

Additional Information[edit]

Fandom[edit]

Official Profiles[edit]

Official Sources[edit]

References[edit]

  1. [1] "闇の摩多羅神/Yami no Matarajin" by Minato Kawamura
  2. 2.0 2.1 [2] "Protectors and Predators: Medieval Gods of Japan Volume 2" by Bernard Faure
  3. 3.0 3.1 [3] "Daikokuten Iconography" by Mark Schumacher