Dead Puppet Technique

Utilizing this technique, Sōta will perform several handseals in the correct order and clap his hands. Both of his hands will glow a intimidating, dark purple. When they do, he will place his hands upon a living opponent, and a large seal will be cast upon them. This will give him access to the sealing jutsu that follows up. He will place the very same seal he placed on the opponent, on one of his puppets. Now, getting the opponent within the range of 2-3 yards, he is able to activate both seals repeating the process of seals, however this time instead of slamming his hands he will point a hand at the opponent. When the seal activates it should slow down and weak the opponent considerably, putting them in a much exhausted state, giving him a chance to perform the sealing jutsu. This juinjutsu is affiliated with the technique, also weakening the opponents soul. Sota will approach the opponent and will reach his hand at the seal, reaching inside of his opponent, and beginning to rip out a good piece of their soul. If one had a mighty strong will they wouldn't be in a life threatening state afterward. But upon ripping out a good half of the other's soul, he will insert it into the identical seal on his puppet, sealing it within the puppet.

This would result in the opponent being highly weakened to a point of making them vulnerable, they could die of exhaustion. Now, moving on to the main point of the technique. Inserting the soul into the puppet will give the puppet life. Not the victim's life, but it will bring it to life and full control at the user's whim, thus Chakra Strings aren't a problem. Then, they and perform a set of hand seals, the very same seals used to make the Juinjutsu. The puppet will then rise as a living object, but will still be under the user's control. Both these processed require a great deal of chakra which could be unhealthy or harmful to genin and rookie chuunin. Along with that negative slap-in-the-face it take a great deal of concentration and chakra control as well.