Basic Characteristics of My Style

Premise- 
"Nihil sub sole novum" I am not the first to discover what I am about to present. I am not the originator or father of some grand martial art. I have simply pieced together elements of what I have learned from training, study, and a lot of trial and error. Necessity is the mother of invention, and I have had the misfortune of necessity to learn to defend myself, often against persons much, much larger and stronger than me. I am sure someone else's style may be found within my techniques, and I am sure I am doing some of them in an inferior way to what the true masters would do. I will never stop learning. To me, there would be no point to life if I did. I think martial arts should be an ongoing process, not a series of tests to obtain a certain rank to decorate your ego. I cannot say that what I do is in any way perfected, only that it works for me, and that it is the best version I have come up with so far. If it can help someone else in a desperate situation, as it has me many times, then my suffering will not of been in vain. I cannot possibly teach my entire system in a blog, but I will present here some of the fundamentals and defining characteristics to at least help guide readers and give them an idea of what I am talking about when it comes to my techniques and fighting style.

This post will focus on the physical aspects. I will take the time to get into the more philosophical and esoteric stuff another time. For now, the basics.

 *Divergence From Tradition*

A key difference between what I do and more traditional Aikido (which, as I've said before, accounts for the bulk of my formal training) is our approach to "atemi" or striking.

in more traditional aikido schools, atemi is taught to be used as a sort of distraction, or to force the opponent to shift their attention and weaken an area of the body which the aikidoka wishes to affect. I have even heard that some schools teach NO striking at all is the true and "enlightened" aikido...

This is where the qin-na comes in with me. While the bulk of qin-na (chin na) is grappling, it does also include dian xue (also known as dim mak, but I try to avoid the term because so many frauds have tainted it), or striking of vital points, which I emphasize just as heavily as grappling techniques, if not more so.

 

Where traditional aikido aims to control, I aim to neutralize, as I shall explain in the next section. The bottom line is that locks become breaks and atemi becomes a focused and precise art to be well practiced and refined rather than glossed over, or exempt completely from the curriculum. 

The core technical principles (not so much the philosophical principles) of aikido remain more or less intact. In many ways you could compare the style and techniques to taijiquan (tai chi) which operates on the same fundamental "energies" and methods of applying them, but where taijiquan is very refined aikido is more utilitarian. Rather than a whole library of specific individual techniques, aikido has a handful of techniques with an unlimited number of variations. Where taijiquan has a variety of stances, aikido aims to have "no stance" or a natural, relaxed posture which lends itself to equally natural and relaxed footwork which makes techniques effective with minimal effort.

Traditionally, taijiquan and qin-na do go hand-in-hand. Aikido utilizes the same essential principles as taijiquan, and also employs joint locks and limb control, even with the use of vital points and striking, which is essentially it's own version of qin-na. All I have really done is taken what was already present a few steps further, as it is found in what may be seen as a "sister art" in China.

Beyond more advanced seizing and striking, the major differences between Hatchie-Ryu Ninpo and Aikido are the extensive weapons, wilderness/survival skills, and holistic healing curricula. Rather than just fighting and philosophy, I teach tactics and life skills as well. This, I feel, is more in keeping with the traditional, "old school" budo (warrior way). So, what some may see as a "break with tradition" I see more as a return to it.

Approach-

The idea is to neutralize the threat in three moves or less. That may seem like a boast, but, in my experience, most real fights only last a few seconds, and, though every second seems an eternity in the heat of it, the longer a fight goes, the more likely something bad is going to happen to you, which is why I aim to make every movement count. If I am standing and they go down face-first, a solid stomp at the base of the skull should sever the brain stem. If I go for a choke, I form a scissor with my thumbs, pressing the tips into the carotid while crushing the trachea in the V between them. Elbows are swung in an arc like a scimitar, knees are thrust like spears, punches and kicks are thrown as if the intention is to break my own leg or hand... as I say often,"overkill is underrated" of course, the law disagrees and "excessive force" is always a concern, which is why there is also emphasis on evasion and escape, but more on that later. The "three moves or less" thing is accomplished in three steps- step 1 is initiate a neural override, this means doing something to make the brain revert to a primal defensive state by attacking the senses. This could mean boxing the ears, gouging the eyes, causing dizziness and disorientation by striking the head or one of the knockout points, attacking the trachea or diaphragm to affect the breathing, or attacking nerve centers, sending sparks of electrical energy to the brain which basically make the body think it is in more danger than it is. This gives you a brief window of opportunity to seize control, which is step 2. Gaining control is usually done by initiating a joint lock or uniting your own center of gravity with that of your assailant. Weapons are dangerous from a distance, whether that weapon is a gun or a knife or a fist does not matter, you want to take control of the weapon, and that means being behind, not in front of it. Moving in and gaining advantageous footing is the first step to initializing a throw. Every vital point you attack will always, always, always, open up another. Know your targets and strike/seize them without hesitation. Whichever way you go, for a throw or for control of the body, the final stage will present itself duly. Step 3 is the finisher- neutralize the threat. This can be done by way of kill (permanent neutralization), knockout (moderate neutralization) or by limb destruction (practical neutralization). A possible fourth option is disfigurement. It is not guaranteed, but this could result in "psychological neutralization" by way of making the person not want to fight. Having one's ear in ripped off, losing an eye, or having their face "fish hooked" open may have that affect on some people... Submission holds have been suggested, and they are certainly an option following the previous steps, but unless you are a cop and able to cuff and shackle them, or have one on hand to do so immediately, most people, in my experience, are only enraged by being held down, and, eventually, you will tire or your grip will fail. Realistically, you should only go for submission in a domestic situation where you do not want to seriously injure the person, they just need to calm down, or in a professional situation, like if you are doing this as a security guard or bouncer. If you are attacked on the street, or by an invader to your home, chances are that person means to do you serious harm, so you should reciprocate that intent. There is every probability that an attacker will come back for you with a group of well armed friends. At the very least, you want to make a strong enough example that will make them think twice about pursuing you as a target. Now, unexpected things can happen in a fight. Situations can change in an instant, so you must be dynamic in your approach. "Three moves or less" works in a sequence. If that sequence is disrupted, you must be able to change it and continue to press the attack. You may end up restarting the "three moves" sequence a few time before you are successful, but the point is we do not waste time with excessive and elaborate movements when we are learning our techniques. That way, when the time comes to actually use it, your body is trained to react in the most efficient way possible.

Movement-

Almost all techniques are executed in such a way as to move the body off the line of attack, or to position a guard between yourself and likely direction of counter attack, the guard itself also functioning as a secondary attack whether a counter is thrown or not.

 Example; The opponent punches with the right hand toward your face. You deflect the punch with your right arm while stepping to your left (to the "outside" of the punch) and in toward the attacker (in aikido this movement is called "irimi"). There are two options here. One must be on guard and aware of upper and lower body at once, so the "guard" will take the form either of the left leg being raised in a "crane stance" type fashion to protect the groin, abdomen, and right leg, or the left arm will cover the face should they attempt to throw a punch over their own arm. Usually their hips and/or shoulders will tell you where the immediate threat is. As you begin to seize control of the right arm, your left will either protect your upper body from a punch or you may use the elbow to strike any of the vital points of the head, neck, or face while pulling the right arm into position. Your left leg may guard the lower body, knee the opponent's ribs, or you may shoot a kick out from your guard (chamber) to weaken or take out the opponent's knee. In either case this should serve to further unbalance the opponent while you twist and extend their right arm to gain control. Depending on what position you end up in after this sequence you may swing the left arm into the opponent's throat (spiraling back from the elbow strike, for instance) to knock them back while simultaneously pulling their right arm into your torso and stepping slightly back with your right foot to put pressure on the elbow while grabbing and choking the neck with your other arm (this may result in unconsciousness within 30 seconds and death within minutes if the hold is not released) OR you may continue to turn your hips (as in following up from a kick or knee attack) as you press your left arm into their right shoulder, spiraling out as you extend and rotate their right arm, then fall sharply to the ground and bring their now locked elbow over your right leg, bent at a right angle, thigh parallel to the ground, as you send your weight through your arms into either end of the opponent's arm. This should rather easily break, or at least severely injure the offending arm, and bring them down with the side of the head and neck exposed, in which case a well aimed "leopard paw" to the carotid sinus or "ippon ken" to the asterion (temple) should put them down and out. In extreme circumstances, bring the now injured arm behind the downed assailant's back, keeping it fully extended. Put your left knee on their shoulder and rotate your body from the hips to keep control of the arm and leverage it over your left leg, leaning into it with the weight of your whole body as you wedge the arm against your torso. Lift your right foot and stamp it onto their neck as you lean in and shift your weight as though you were going to stand up. In a few seconds this will crush the trachea, cut off blood to the brain, and kill the assailant.

When I cannot step around the opponent, off the line of attack, then the circles and spirals come inward and become smaller. By this I mean I start to look at the opposition in terms of levers and fulcrums around which to move those levers. Which ways can the pivot and which ways will make them break? By controlling the center of gravity I can pivot the entire body at the hips and roll them over my body, throwing them to the floor. If the body is extended, I may pivot them at the foot, using the head as my contact point, thus maximizing the mechanical advantage of the lever and making them fall fast and hard. The hand, the arm, the leg, all become levers as well, and I may pivot them at the joints to break or stress them, or I may use them to pivot the body into a throw. One key trait of my "style" is using the full weight of their entire body, plus anything that I can generate through my own body, to attack joints and bones of a falling opponent. Extending the energy in a full circle, rather than a "pie slice" so to speak, is key to effectively accomplishing such techniques. In short, most people hold back. Don't. The human body in an adrenalized state is very resilient. Take techniques to a point of absolute completion. Be sure you have completely neutralized the threat before you break contact.

Kicks- 

Kicks are rare and aimed low. I don't do high or flying kicks. Most fighting, in my experience, happens at extreme close range, unless there are weapons involved, and, if they are, it is likely to be a gun, and unless you can traverse over 300 yards in less than a second, you want to CLOSE that distance as quickly as possible, getting on the "safe" side of that gun. If I use a kick it is likely to be in a stomping, sweeping, or whipping type motion. In other words, circular, or spiraling. In kicks, striking is done with the ball, blade (opposite the arch) or heel of the foot, as well as the knee or shin, but never the top or arch of the foot, which are both vulnerable unless highly conditioned. The toe may be used in the rarest of occasions, namely for groin kicks so as to effectively strike vital points (more than just the gonads) in that region. As with all techniques, power is generated from the lower dan tien and the strength of the entire body is put into the kick. Hooking techniques may also be executed using the backs of the legs and turning the hips. I prefer to stay upright as much as possible, but if I must go down, or if it behooves me to do so for some reason, I am a big fan of the "scissor" take down because this lends itself quite naturally to a subsequent leg lock, which can then be turned into destruction of the ankle and/or knee, and a crippled assailant can't pursue you. Other "sacrifice" throws are used as well.

Stomp kick; Lifting the knee high and coming down with extreme force with the cutting edge of the heel, or the blade of the foot, depending on position. This kick is targeted at the kneecaps and sides of the knee joints, the pressure point at the top of the foot between and behind the first and second toes, the many small bones of the top of the foot, and any vulnerable areas of a downed opponent, such as the wrist or back of the hand, elbow, temples, jaw, brain stem, tail bone or lower spine. This is one of the most common finishers in my techniques. Using the side of the foot with this kick is handy when stepping around the opponent too. Targets include the top of the calf, just below the bend of the knee (from behind), or the upper shin, just below the knee, when positioned to the side of the opponent. Either of these is designed to break the leg or dislocate the knee.

Push kick; Bringing the knee up and pushing out with the leg, remembering to bring force from the core and putting the whole body behind it, not just the leg. This kick is aimed at the diaphragm and belly region, mainly designed to shove the opponent back and put distance between you, but if you can bruise internal organs or knock the wind out of the opponent in the process, all the better. This kick can give you a brief window to recover from a blow or set up a more powerful attack. You can also aim this kick at the lower back if you are behind the opponent.

Circular kick; Swinging the leg around from the side, as if drawing a circle around yourself. I believe this is properly called a roundhouse, but movies have confused that term with a spinning kick which turns the body full circle, and I don't like turning my back to an opponent EVER so I do not use full circles when using this kick. It is a circular motion, not actually turning around in a circle. In my style, this kick is aimed at the floating ribs, the pressure points in the thigh (such as the one from the "charlie horse" game when we were kids), and the points just above and just below the sides of the knees. Contact is made either with the shin or the ball of the foot, depending on range and target.

Forward snapping kick; again, I may be using the wrong term, but this is how I think of the kick. It is simply bringing the knee up and snapping the leg up, almost like cracking a whip vertically. This is mainly a kick to the groin, either using the shin or the ball of the foot to make contact. If you have the assailant in a joint lock and they are down on one knee or bending with the head forward, you may also use this kick to target the head, jaw, neck, or chin. If your position is not so advantageous, you can use this kick into the armpit to strike pressure points there. Twisting a bit from here can dislocate the shoulder if executed correctly.

Hand techniques- 

Crane beak; All of the fingers are extended with tips bunched together, meeting at the tip of the thumb. Striking may be done with the top of the wrist, back-handing with the knuckles, or "pecking" with the "beak" or finger tips. Hooking techniques may be executed using the area of the lower wrist and inside of the hand. This is a versatile technique, but care should be taken to condition all areas of contact well because any one of them can result in broken bones if not. Even with training and conditioning, this is used only to strike vulnerable points which require minimum effort to be effective. Examples; using the wrist to strike the knockout point under the chin because this point is best activated with an inward-hooking motion as opposed to a straight uppercut, and the wrist gives a finer point than the broad fist does. Using the finger tips to strike the eyes, thus minimizing the risk of finger injury compared to a single or double finger strike, and even if the opponent turns their head you can still strike the pressure point at the top of the cheek or behind the earlobe (depending on how they move). Furthermore, this hand technique can quickly transition for quick follow-up strikes, such as using the rising wrist to strike the chin, as described before, then immediately going into a "panther fist" and pressing into the point between the nose and upper lip, thus driving the already disoriented opponent to the ground.

Modified knife hand; The little finger is tucked under ring finger, strengthening the whole hand and creating a bony point at the lower knuckle for more precisely striking pressure points. The thumb is tucked too so that striking with the other side of the hand (ridge hand) does not damage it. Instead, it is the lower knuckle of the first finger that hits the pressure point. Rarely, the finger tips may be used in this configuration (spear hand) to strike soft areas like the trachea.

Hammerfist; Strike using the bottom or back of fist. Along with elbows, knees, and palm strikes this is the main way of attacking the body. If you are being assaulted by a barrage of strikes, keep your arms up, protect your face and head, and swing out a hand with a cutting motion to make contact with the bottom (meaty) part of your clenched fist and hope to make contact with something. Throw knees and elbows at close range and continue to protect yourself while seeking a window of opportunity for a throw, lock, or ender. Use the back-fist only on fleshy parts of the body, as collision with the skull, shins, forearms, or elbows may injure your own hand. Cracking the jaw with a sweeping back-fist, on the other hand, could be devastating. The cutting/sweeping motions have the benefit of deflecting potentially unseen blows while executing your attack. This is a characteristic of my style as straight-on attacks will always open you up to counters. If you swing your right arm from left to right, and the opponent throws a straight punch in response, you have only to continue the motion and deflect the blow. Combining this with footwork (stepping off-center and in toward your target) you may then counter his counter with an elbow to the throat, for example.

Twist punch; This is done by turning the fist at about a 45 degree angle to the ground, or just so that the ulna and radius are lined up parallel to one another. If you press into your arm with your other hand you can feel this. Striking is done with the first two knuckles primarily, so the fist is bent ever so slightly downward so that they line up, more or less, with the bones of the arm. This is used for striking pressure points that require deep trauma to be effective, such as those in the arm or leg which may be buried deep within layers of tissue. It is NOT ideal to strike the head with this technique. Palm strikes are preferred for that because they can provide more concussive damage with less risk of self injury.

Panther fist; Extend the fingers and bend at the second knuckle, tucking the thumb into the palm, bent at the first knuckle.This position allows you to strike with a backhand or ridge hand as well as with the knuckles. This configuration is not only used to strike smaller targets than would be easily hit with the fist (such as pressure points in the armpit) but also for exerting pressure on vulnerable points which respond better to digital force than striking force. The points on the inside and outside of the elbow are good examples, as well as the aforementioned point below the nose.

Phoenix eye fist; This technique extends the second knuckle of the first finger and reinforces it with the tip of the thumb, which is tucked into the void created by extending the finger. Note that the thumb is NOT bent in any way for this technique but is held stiffly against the underside of the hand and the first finger wraps itself over the tip. This is an improved (in my opinion) hybridization of the "ippon ken" extended knuckle strike and the thumb strike. It is ideal for striking points locate within hollows, such as the one behind the earlobe, as well as applying digital pressure to those that don't respond to striking and may be too deep or small to reach with the panther fist. I actually found this to be more effective than the traditional two fingers driving poke into the supersternal notch, despite not being able to drive as deeply in.

Diamond fist; another single-knuckle strike, used in much the same way as the "phoenix eye" but slightly better for punching and worse for poking. This fist is formed by first making a regular balled fist, then extending the second finger at the second knuckle. The first and third fingers press against the second at either side, then the thumb comes across to seal it all up. So, the second finger is reinforced on three sides and extended at the second knuckle forming a vaguely "diamond" like shape, hence the name. I believe in karate they call this one "nakadaka ken" and it can be useful in getting better penetration out of kyusho strikes to points deep inside of tissue (as in "slitting the muscle" techniques) as well as striking more surface oriented points such as on the temples or backs of the hands. As kids, we used to "dead-arm" and "dead-leg" people with this strike.

Palm strikes; The palm of the hand can be made hard or soft through flexion of the muscles and fingers. It is important to be able to quickly and fluidly switch between the two, even mid-technique as conditions change. Hard strikes may be with the heel of the palm, or the side, like a ridge hand. The fingers may also be used to claw and gouge at soft targets like the eyes, ears and lips. Soft hands are used to box the ears, which can be severely disorienting and may result in temporary or permanent deafness. A hard strike to the elbow may be used to break the arm during a locking or throwing technique. However, should the opponent suddenly begin to turn, you may need to switch to a soft hand and turn your strike into a grab, stopping halfway through one technique and entering halfway through another, saving you the effort of resetting and beginning a new technique from the beginning. Movements are unpredictable in a real fight, it is not like practice. Don't get caught up in routine. Train for the unexpected.

Sword secret; This is done by extending the first two fingers fully while bending the ring and little fingers at the second knuckle and holding the thumb at the side of the hand. This is a very vulnerable position, likely to get your fingers broken, so it must be used with caution. It can be used to strike at the eyes, adam's apple, or to reach behind bones like the collarbone which protects many deeper pressure points. I use it mostly in demonstration to emphasize the control that accurate pressure point technique can impart. It is called "sword secret" because it is also used in weapons techniques to increase precision of stabbing thrusts. In combat, I would be more likely to use it with a yawara or some expedient facsimile thereof.

Other strikes-
Shoulders; I practice "driving thru" the center line to throw or knock back opponents at close range. The shoulder is often the point of contact when performing this type of technique.

Headbutt; At extreme close range your hands may be bound in the opponent's grasp, your bodies too close to kick or knee, but every disadvantage comes with an advantage, and every action opens up an opportunity. If the assailant is standing close and holding your arms down, then his arms are down too and his face and skull exposed. Striking with the head must be done properly to avoid self injury. Do NOT whip the head back and forth. Do NOT strike with the middle of the forehead, crown, or sides of the head. Do NOT use the neck to try and generate the force. There is a bony ridge between your "third eye" and the hair line. There are impact points to either side of the center that can jar the brain and cause a daze or knockout if struck with concussive force as with a palm or hammerfist strike, so best try to avoid hitting your opponent with these areas yourself. Your striking surface is the center part of that ridge, before you get to the "points" on either side, where your skull begins to curve back toward the temples. Force, as always, comes from the lower dan tien, at the body center, between the navel and pubic bone. The neck and spine are lined up with the hips so that the entire body becomes like a piston and force is driven up the center and out through the focal point, that upper forehead ridge area. Direct this attack at the vulnerable points of the face such as the bridge of the nose, the tops of the cheek bones, the eyes, temples, or jawbone. Any of these are easily broken, and, properly executed, this striking technique should produce FAR more than enough power to shatter these bones and cause the opponent to instinctively recoil out of primal self-preservation. This is the "neural override" we talked about. Seize the window of opportunity, and proceed accordingly.

Elbows; "throwin' bo's" is a good tactic at close range where street fights tend to happen, and it has the benefit of letting you keep your arms up to guard your head and face, primary targets as being struck anywhere in that area will usually daze you, and once you are dazed you are pretty well done for. A well slung elbow will sometimes cut the opponent's flesh. Elbow strikes can actually be much more dangerous than punches. As superior offensive AND defensive weapons it only makes sense to train using elbows. It helps that most would not expect to see an attack coming from the elbows of a person who appears only to be guarding their head. Looking like you are cowering and then unleashing and explosive barrage of attacks at close range could turn the tide of an assault.

Knees; generating power from dan tien and thrusting sharply forward and upward. I say "swing elbows like scimitars and knees like spears" because that is what the movement reminds me of. Knee strikes are aimed at the groin (there are actually several pressure points in that region, not just the one vulnerable spot), thighs (at the "charlie horse" point), tail bone, floating ribs, or the throat, spine, brain stem, ribs or elbows of a downed assailant for a finisher. In the later cases the technique is more of a "dead drop" combined with a downward thrust.

"one inch punch"; really more of a training technique than an actual strike as the underlying principles can be applied to any strike. This is simply a powerful strike from extreme close range. The key lay in the hidden power of transitional force and full body movement (taijutsu). In training the one inch punch you hold the fist fingers' length from a target, then relax the hand, holding the now softly bending fingers just off the target. As with most strikes, you want the upper body and lower body in sync with each other. That means if you are punching with the right hand you want the right leg slightly forward, or the left leg slightly forward for a left hand punch. When you strike, you do so with explosive force, all at once, transitioning in an instant from "soft" to "hard" while projecting force from dan tien. The power should come up from the center, up the spine, through the shoulders, pushed forward by the torso and fly like a shock wave through the arm as it is all focused into a powerful punch. I am not fond of breaking boards, because it seems a waste of good materials for the simple sake of showing off, but I am okay with it when it comes to training the one-inch-punch because it conditions the fist while also giving you a clear indicator of success when and if you punch through it. Practicing on a thick piece of wood you may never actually break is just as well though. As long as you punch as if you intend to break it, your training will likely be successful. Once you can do the punch, however, you should strive to practice the same way with your other strikes. That is why I talk of thrusting knees like spears. Knee strikes are used at extreme close range, the closer the better, in fact, because if you are in a clench the opponent is likely not to even see your knee. If you execute a knee strike in the same manner as a one-inch-punch you will cause massive damage rather than simply encouraging them to get off you. This one move could potentially end the fight, or at least give you time to get away.

Weapons-
Weapons training is a big part of my system. Bad guys have weapons, and know how to use them, so it only makes sense for us to strive to be better educated about weapons and their use than the average street thug. I am also a major proponent of expedient and improvised weapons. Not only does this give you the ability to seize advantages from your surroundings in any setting, but it trains the mind to think outside the box, to remain alert and agile, and to spot opportunities where others would miss them. Also, using expedient weapons can work to your advantage legally. If you are assaulted, and you use some mundane object that just happened to be close at hand to gain the advantage, no one can say you went out looking for trouble. For these and many more reasons (analogs to other weapons, relative safety in training, effective use of seemingly innocuous tools...) I like to train with a variety of weapons.

Cane; The standard crook-top cane is an excellent weapon. it can be used for a variety of techniques, and has the advantage of being already in your hand at the time of an attack because you can just walk around with it openly without being accused of "brandishing a weapon".

Rope; ropes of varying lengths can be highly advantageous in a fight, and can be quickly modified with other components (such as weights) to make them all the more effective. Ropes help us to train our body and mind for circular movement. Short ropes help with small circles used in locks and throws. Long ropes help with large circles, teaching us range, full body awareness, coordinated movement, and can also be used for binding opponents. Ropes are also analogous to a range of flexible expedients, such as towels, t-shirts, belts, etc.

Dan Bong; A short, stout stick used for a variety of striking and locking techniques. I like those with a lanyard attached, but there are advantages and other techniques which can be used with the non-roped variety as well.

Pocket Sticks; Yawara, Kubaton, chizikunbo, et al. They are easy to conceal, legal in most jurisdictions, difficult to disarm, and dramatically improve the effectiveness of pressure point techniques. The biggest drawback is that these require a great deal of training to be used well, so it is a good idea to train often.

Mini Flail; This is mostly due to the fact that "monkey fist key chains" have become such commonplace items. A simple braided strap, or a kubaton with a key ring, can also turn the car keys into an expedient "flail" of sorts. It is not the most powerful weapon, but it can serve well as a "get off me" tool and give you a chance to escape or set up a more powerful attack. A properly made slungshot (technically illegal in most places, but that is still what a loaded "monkey fist" really is, though they are overlooked) can be fairly effective as a knockout and finishing tool. Like the pocket sticks, it takes a great deal of practice to be able to reliably use it though. These can also be used for rope techniques, again, if properly made, meaning having enough of a "tail" to gain sufficient momentum for a potent strike.

Karambit; claw-like knife with a finger ring handle, held in a standard "reverse" grip (blade opposite the thumb). As stated in my post on bladed weapons, this knife can be effective even in untrained hands, and is devastatingly effective when you really know how to use it.

Kukri; Like combining the bowie with a hatchet, this large, forward-curving blade is ridiculously powerful, and battle tested.

Machete; mainly because it is a utilitarian blade which wouldn't seem out of place in some areas, and because it is used with the more circular type of movement preferred in my style.

Short Spear; I began carrying a homemade "spear" with a stout shaft about shoulder height, and a wide-bellied blade (so really more of a mini halberd) sometime in my teens when I ventured into the woods on hunting and gathering excursions. I like to plane the sides of the shaft so that it is easy to direct the angle of the blade even in mid swing. Spears are not the kind of thing you can just mosey around town with, but  the techniques translate to any sort of long weapon, such as a stick or a pole. it also trains the body to deal with linear, long-range fighting.

Firearms; I firmly believe that shooting should be incorporated into the martial arts. Humans have been using firearms in one form or another for centuries. The Chinese developed the first black powder weapons over 800 years ago. There is a lot more to effective firearms use than "point an shoot" and I have developed techniques to help with aiming, accuracy, and firing speed involving breath control and full body awareness. Again, I know I am not the only one doing this, I just don't know who else is or what they call it. Anyway, firearms training is also about knowing exactly HOW the weapons work because understanding the mechanics of various firearms can also help us with our defense against them. For example, pushing back the slide or blocking the hammer of a handgun during any one of the standard disarms can give you a marked advantage and dramatically increase your chances of success for an already extremely dangerous technique.

Before and after-

If you have read this far, you may think my technique sounds a little brutal, but that is the nature of violence. The way we keep all this in balance is through mastery of it. When we master violence, we master our capacity for violence. When we master violence, we learn to control it, both in our enemies, and in ourselves. I believe we must come to terms with the brutality, chaos and destruction in order to find "the eye of the storm" and come to reside within it. In so doing, we are able to recognize a dangerous situation before we are even in it. We become aware of suspicious and aggressive behavior in others. We learn to take notice of exits and areas of cover. By combining this with specialized escape techniques and movement, we are able to quickly and effectively remove ourselves from danger, either before, or after the altercation. We must be alert, but calm. "Fear equals readiness" as I say. Fear is a tool which serves one purpose, to activate our primal strengths for fight-or-flight. I say embrace it and use it to your advantage. Let it flood your senses with heightened awareness, let it quicken your limbs and reflexes, let it goad you into action rather than reduce you to a blubbering heap because you refuse to let it do what it is designed to do. Ride the wave of adrenaline and save your prayers and phone calls to momma AFTER you have escaped with your life.