The Spread Shot of Flandre Scarlet from the world reborn (a Touhou LW original). She swings around a myoga ginger stalk in this attack. There are basically two types of ginger in Japan. Ginger with a strong scent is called shoga, but it was previously called senoka (lit. older brother scent). Ginger with a weaker scent is called myoga, but it was previously called menoka (lit. little sister scent). However, when shoga ginger is pickled, it is called gari.

The Focus Shot of Flandre Scarlet from the world reborn (a Touhou LW original). She shoots out hot and spicy laser beams in this attack. It's said that spicy isn't technically a sense of taste but a pain signal sent to the brain. But then, how can something smell spicy? Perhaps spicy food gives off tiny particles that strongly stimulate the nose, or maybe we simply misinterpret other smells as being "spicy." Either way, if you shoot spicy particles with enough speed, you should be able to make a spicy laser.

A Spell Card of Flandre Scarlet from the world reborn (a Touhou LW original). In this attack, she recalls a taboo that has been forgotten. There is an interesting folk story about how myoga ginger got its name. It's said that there was a man who was so forgetful that he kept forgetting his name, so he carried a flag bearing his name on his back. When he died, the plant that sprouted atop his grave was named myoga, meaning "to carry a name" in Japanese. It must be pretty scary to forget your own name...

A Spell Card of Flandre Scarlet from the world reborn (a Touhou LW original). She performs a mysterious dance in this attack. It is a folk dance that is performed to celebrate the discovery of fresh water. Japan is blessed with lots of fresh water, so this dance probably originated in a much more arid land. How did Okina learn about it?

The Last Word of Flandre Scarlet from the world reborn (a Touhou LW original). She looks at an asterism of nine stars in the northern night sky. Most people believe there is a distinct boundary between reality and fiction. However, in most cases, there are no walls between the stage and the audience. Why do actors become different people when they step on stage? And why doesn't anyone in the audience take it upon themselves to step up there instead? Unspoken agreements like these are a type of coordinated madness. The stage is basically an altar. The actors are shrine maidens, the audience are devout followers, and the performance is a ritual. Some plays are also murder mysteries. In one such play, seven of the characters are victims, and the eighth is the culprit. But there is also a ninth character who shouldn't exist. What would happen if Flandre was also thrown into the mix...? That's what the god Okina Matara wanted to find out with her new rendition of this old play.