Attacker Ebooks Catalog
Level 4 2d6 power punch which counts as only one attack. When using a power punch, the attacker can get an automatic knockout on natural roll of 19 or 20. Victim will remain unconscious for 1d4 melee rounds. Knockout attempt does not have to be announced prior to roll. Level 5 +1 additional attack per melee Level 9 +1 additional attack per melee Brazilian Jujutsu (frequently abbreviated to BJJ) is a relatively modern form developed from judo and traditional Japanese jujitsu styles by the family of Brazilian landowner Carlos Gracie in the early 20th century. Over the years, the style was refined through repeated challenge matches against boxers and other martial artists. Techniques were modified to reflect the combat realities of street fights in Brazil. Why study Brazilian Jujutsu For taking an opponent out of his element, there's nothing better. BJJ's groundfighting is second to none. On the downside, while it excels in one-on-one combat, the emphasis on ground-fighting makes the...
The character chooses what attack to fake and rolls to strike. On a roll of 5 (or equal to the opponent's AR) or greater, the false attack succeeds. The opponent can (and should) attempt to defend against the false attack. Whether they successfully defend against the fake attack or not, the attacker then moves into the second attack. The character is at +3 to strike with second attack and the defender must use an attack to defend against it (no Automatic Defenses). Knee, Elbow, Grab, Entangle, Death Blow
This flashy, show-off move is used primarily to intimidate but also has good damage. Unfortunately, the use of the Pinwheel Attack (so called because of the pinwheeling motions of the attacker's arms) results in an almost compete loss of defensive capability for its duration The build-up to this attack is eerily silent for all its obvious power. In the moments preceding this attack, the attacker begins to whirl his weapon(s) in a circular pattern that does look like a pinwheel, all the while moving closer to the target. This attack must be the first attack in a melee round, and regardless of the initiative roll, this attack always comes last in the first group of attacks. During the build-up, the attacker may still use circular parries, but may not dodge or use a regular parry, and the circular parry is at -4. When the attack itself comes, it comes as the whirlwind--fast and hard. The attacker spins in a complete circle, hits the target with both ends of the staff (or both rods),...
Capoeira, a Brazilian martial art, was born in the senzalas , where African slaves were kept. Capoeira blends elements of dance, music, rituals, acrobatics, and fighting. It is primarily a stylized dance, practiced in a circle called the roda , with percussion instruments providing sound. In addition to unarmed techniques, weapons are taught maculele , done with blades, and maracatu , done with sticks. It is very common for a capoeirista to have two or three nicknames. When a person is baptized into the art of Capoeira, they are given a nickname.
Plate 122 shows the first follow-through step after cutting the Do, as the attacker passes to his own right. So as to pass clearly the blade is snapped back to the attacker's right shoulder when passing. This form of pass can also be used when attacking the Migi-gote, if the opponent's Shinai happens to be high.
This throw ranks as number two in the big contest throws. The reasons for this is that there is nearly always an opportunity for it. Secondly, it can be done very quickly and thirdly, once in position, it is very difficult for the opponent to escape. Also the man who uses o-soto-gari can apply a lot of power for forcing the throw through even if he is only partially in position. Study the photographs. You will see that the attacker has swept his partner's leg off the ground with his right leg and is throwing him to his right back corner.
On October 10, 2002, James and I boarded a plane for Toronto to spend the weekend training with Vladimir and his students. We scheduled a time to meet with Vladimir privately to conduct an interview and to explain in greater detail the concept behind Aiki Expo 2003. I had high expectations about Vladimir based on what James had told me and my viewing of the Systema videotapes. Vladimir didn't disappoint. He is one of the finest human beings I've ever met and a credit to the kind of person that Systema develops. His skills are astounding and in perfect consonnance with the philosophy of aikido. He never opposes an attack, but blends and leads the attacker into a fall or submission. Vladimir is humble but with complete confidence born of his many years of training and exposure to life-and-death situations. Out on the mat I found the training in Systema to be very rigorous. It includes lots of pushups, situps, varied breathing exercises, and body strengthening exercises. Since it is so...
Ability and progress in Kendo is said to consist of some eighty per cent posture and only twenty per cent technique. In Kendo we are not merely attempting to hit the opponent, but to deliver a correct technique in a specified manner. From this viewpoint Kendo has much in common with shooting, since both posture and breathing are of importance. But the situation is more complex in Kendo both attacker and target are very likely to be in motion. Aiming has little to do with Kendo and we do not even watch the target as we cut. Aim develops quite naturally if left to itself. One does not make a fully conscious effort when reaching to pick up an object and in the same way the precise target areas may be easily struck immediately by the novice, providing that he is not inhibited by the concept of aiming, or it being particularly difficult.
Like a cancer, confrontation should be caught and treated as early as possible -the longer you leave it, the graver it will become. It is easier to treat a small malignancy than a fully-grown tumour. If a verbal challenge is thrown down, you should rise with the threat to Code Orange where a potency assessment may be made. If an approach follows you should automatically rise to Code Red, this being 'fight or flight'. The approach may be made across the bar of a public house, on the street, in a traffic incident, it may be some one getting out of their car and approaching your vehicle. At this stage you should have already utilised your 'flight' option and be a hundred yards down the road. Where 'flight' may not be plausible you may take advantage of the aforementioned Four D's, if this technique works for your attacker then it can work for you. As the famous Japanese strategist Miyomoto Musashi said in his Book of Five Rings 'What is true for one is true for a thousand and what is...
A natural, faith-based response, is simply to not be in the force vector. In reality, there is nothing to protect. The space that we are in at any given moment does not belong to us so why not vacate if something else want to be there In Systema this response is taken to a truly incredible degree. When facing Mikhail, who is 5'6 and quite thick, it seems almost impossible not to be able to grab him. Yet this is extremely difficult to do. He is standing within arms reach, yet you cannot touch him enough to transfer any force or control. Your eyes tell you that you have a thick strong man that you are about to make contact with, yet you cannot seem to do it. This paradox is one of the end products of Systema training. When you look at the Master of Fighting video you will see how well Mikhail mirrors' his attackers. His ability to perceive their movements, even before these movements actually take place is a product of a lifetime of training. When you are working with him it feels like...
The thrower in this and other throws depends upon breaking your balance to the right front corner. It is his left hand pulling on your right sleeve which achieves this. To successfully stop these forward hip throws snatch your right arm and should back with a considerable jerk causing him to lose his grip. To counter this throw and its variations sweep away his supporting left leg once the attacker is in position with an action something like ko-soto-gari. This is not a very 'clean' counter, but if it is done with a lot of gusto it should be possible to scoop the attacker's legs right off the ground. As the attacker will be hanging on with his right arm round your waist or neck it will be necessary to drop to the mat as you sweep the legs. If your stand up as you sweep, the attacker will simply hang on to you. Take care when dropping to the mat, not to injure yourself or your partner. There are several counters to o-goshi but I think the beginner will find this the easiest to learn.
Firstly, In the case of the eye contact challenger, if you sense a rowdy individual s walk tall and hold yourself confidently. Even if you do feel daunted, act confidently -after all 'when ignorance is mutual, confidence is King'. Confident people are very rarely chosen as victims for attack. Whenever possible, avoid eye contact where you sense aggression, but do not bow your head, this can be seen as a sign of weakness and may draw the attacker in for the kill. The challenger's ritual can be crushed before it starts by simply avoiding eye contact, if you are switched on you will have noticed him from a mile off and avoidance will not be a problem. This may take some discipline, it is often difficult not to stare,
The art of Aikido as it was taught by Master Ueshiba and is being taught by his successors focuses on training the spirit through study of the physical fighting techniques. As O'sensei grew older, the techniques he practiced continued to grow smoother and rounder. He modified the basic aikijujitsu techniques so that practice could be carried on with full force and yet have minimal risk of injury. However, since the techniques still remain very close to the original aikijujitsu techniques, it is easy to see how any given technique could be used so as to inflict severe injury or death to an attacker. As a result, the psychological impact of the life and death situation is preserved in Aikido and operates in its training of the spirit, and Aikido also continues to function as an effective self-defense method.
If the attacker is carrying a weapon, the bearing hand may be hidden, either in his pocket or behind his back. If one -or both -of his hands is concealed, beware. Some attackers do not hide the hands, rather they turn the palm or palms away from the chosen victim on approach to conceal a weapon, or keep the offending hand close to their leg to conceal the same. Other attackers will keep their hands on full display, extracting a weapon from its hiding place as they approach, or immediately after asking an engaging question. My friend was killed in just such a way. His attacker approached with his right palm turned into his right thigh so that his knife was hidden. He got very close to my friend and asked a question to distract him, then he plunged the hidden knife into his heart. That single stab wound killed him. So look out for concealment, if you can't see the attacker's hands or if his palm is turned in or even if the attacker has his hand in his pocket, you have to ask yourself...
Defence for this throw is the same as for the hip throws. Snatch your right arm and shoulder back. In the counter throw where the attacker is already in position for the throw let go with your left hand and encircle the opponents waist. As you stop the movement give slightly in at the waist. Then thrust the hips out strongly lifting the attacker up in the air. To make sure that your opponent doesn't come down on his feet again, continue the push forward with your hips until his legs are out almost straight. Then, pivot round to your left and drop him to the mat. It will sometimes be necessary to drop a little to the mat to finish off the throw. Take care not to use too much force in practising.
Care in moving around is necessary to stop De-ashi-barai. Do not keep your feet too close together or make large steps forward. Do not skip about the mat on your toes. Instead move about with fairly small steps, always being ready to transfer your weight from the forward foot to the rear foot and vice-versa. There is one very spectacular counter for this throw which is extremely difficult to do. This involves taking your foot out of the way of the attacker's incoming sweeping leg, inserting it behind it and doing exactly the same sweep back on him using the impetus of his own attack. An easier counter is to keep your weight off your front (right) leg. Let your partner sweep your right leg a little and then, using this, move in for o-soto-gari.
Defence is the same as for the first hip throw. To counter, let the attacker get in position for the throw with his right leg across your thighs but do not let him break your balance forward - keep upright As soon as you have stopped the impetus of his throw, step with your left leg deep in between his two legs. Balancing on this lift up your right thigh under the opponent's right thigh so that he is lifted completely off the ground. Pivoting on the ball of your left foot swing round to your left and unload the attacker off your thigh on to the mat. This can often be a very heavy counter.
If you look at the plates showing this throw, you will see that both the thrower and his partner are in the same position. The only difference is that, if the thrower is doing the throw properly and breaking his partner's balance, the partner will be bent over backwards. To block this throw step back with your right foot and lean forward with the upper body so that the thrower will not be able to break your balance to the rear or reach your right leg. For the counter let the attacker come nearly in for the throw, taking care that he doesn't break your balance to the rear, step round and back with your left leg. As you do this keep him pinned tight to your body with your arms and do exactly the same throw (o-soto-gari) back on him.
The thrower will try very strongly to break your balance to your right front corner. Do not let him do this and be prepared to snatch your right arm free from his sleeve grip. Stand upright with your right shoulder well back. There is a counter for tai-otoshi but it is extremely difficult to do against even an average tai-otoshi exponent. Be content to break the attacker's left hand grip and push him down face forward into the mat with your left knee. Once he has fallen forward, move in quickly for a groundwork technique.
There is no satisfactory counter-throw for a stomach throw. To defend against it, firstly do not let the attacker put his foot in your stomach. As he sinks to the mat, sweep aside his rising foot with your left hand so that his foot shoots out past the side of your body. If he has managed to place his foot in position do not let him pull you forward, sink immediately to the mat keeping your head and shoulder braced back. If the attacker should manage to get you actually in the air, try to make a cartwheel and twist so as to land on your feet or on one side.
Once again defend by snatching your right arm and shoulder back making him loose his grip. Also do not stand with your legs too far apart or with your body bent forward. If the attacker has managed to get his right leg between yours do not let him lift your left leg up, instead try to reach forward and sweep away his supporting left leg. Another counter is to get completely out of the way of the throw. As the thrower begins to turn for the throw bring your left leg in and behind your right leg as quickly as possible. If the attacker is putting a lot of power into the attack he should go sailing past and throw himself. However, to make sure, as his
These are not illustrated but consist in allowing the attacker to almost complete his stroke, then suddenly avoid the cut and reply before he can recover. It is not considered good form to 'dodge' about or 'duck' and Hazushi-waza are performed in correct posture, normally raising the blade at the same time.
Disregarding opportunities for a counter can become a habit which could easily lose you a contest. Also an attacker will have to sharpen up his throws if he knows a counter awaits them. This makes for all-round, lively judo. As soon as possible, practise your techniques on the move against a resisting and attacking partner.
As with Harai the defending blade clashes against the Tsuba Moto (guard base) of the attacking blade but is normally less efficient since it is necessary to lift the blade again to make the reply cut, and time is lost unless the attacker is striking to either the Kote or Do. In the case of Do, which approaches at a very oblique angle the action is very similar to that in the Uchi Otoshi of Shikake-waza, except that the defending blade points towards the opponent's right shoulder and hip.
A difficulty that often arises for beginners is the nature of kata and the meaning of Aikido defense techniques. Kata is prearranged form, and most Aikido practice is kata. Practicing a kata with a partner means that there is an agreement about what the attack will be and what the defense will be. It means that the attacker has agreed in advance to lose . However, the attack and the defense must still be sincere and effective. If either is empty form without sincere combat intent, the practice becomes worthless. It may become limp repetition or empty physical force, but it won't be Aikido. In sincere practice, two partners are trying to create together the physical and energetic experience of real harmonizing with an attack. In actual combat, the attacker will certainly be sincere, but s he will actively try to prevent that harmonizing. In actual combat, the perceptive and Centered Aikidoist will harmonize with the attack, blend with it, lead it and defeat it. In combat, the Aikidoist...
In actual fact Nukigiri is rather more an old fashioned sword technique and is modified for practice today. The main technique which will concern the student is the Nuki-do in which the breastplate is struck simultaneously with a side-step to the attacker's right. The blade is drawn obliquely across the opponent's body as the left hand crosses underneath the right and draws
Men-senno-men can be made by attacking directly forward as the left hand passes down below the attacker's face and is taken to the right. Men Senno Dzuki is performed by dropping the point and thrusting upwards but this is very dangerous unless both the attacker and attacked have a good idea of what is happening. Kote-senno-gote or Kote-senno-do can also be taken but the timing is more difficult. Do-senno-gote is easier since the attacker's Kote is entirely open as his Shinai swings inwards.
For example, it may be possible to execute a technique in a certain dojo (training hall) because its practitioners are accustomed to that kind of training and are susceptible to the seeming effects of that techmque-a kmd of mass hypnosis. At another dojo the same technique may be completely meffective. It is undeniable that some people are more suggestible than others, and a charismatic instructor good at reading that sensitivity can perform feats that appear amazing, such as downing an attacker without touching the person, or remaining immobile even with several people shoving him. The relationship between the power of suggestion and true mental power in aiki is very complex, and it is not easy to different -
Therefore, as soon as you are approached in a potentially confrontational situation take up a small forty five degree stance (as illustrated) by moving your right (or left) leg inconspicuously behind you. Simultaneously splay your arms (fence), as though in exclamation, whilst replying with your dialogue. The lead hand is placed between you and the assailant, the reverse hand back, ready to control or attack. As you will see in the illustrations, the fence allows you to control the distance between you and your attacker, disabling any attempts he may make at grabbing striking you. Though it may be on a subconscious level, your fence will act as a barrier between you and he. Try not to touch the assailant with your hands, unless you are forced to, the touch may For the duration of dialogue it is imperative to maintain distance control until you are able to escape, or are forced or strike. If you are forced into an attack situation -this should be an absolute last resort -make it a...
Jeff Cooper, legendary American close combat and shooting instructor (known on the circuit as this generation's closest thing to Wyatt Earp), was once asked how you would know if your art was effective for street defence or self-protection. His reply was simple when you are worried about hurting, perhaps killing another human being because your technique is so potent, then you know your art is real. Ambush fighting is what you get nine times out of ten if you are not switched on, or coded up, as they say (see colour codes). An ambush fight is when the first you know of the fight is a physical attack. If the guy who attacks you is worth his salt as a street fighter then that first blow is likely to be the last in the fight and you should get used to hospital food because that's what you will be getting. If you are switched on to the enemy and the environment yourself, then you will avoid nearly all of the potential attacks. Those that are unavoidable, you will be able to control, those...
Tenno-uchi - Blows delivered with the hands where instead of lifting to the Jodan position as usual, the blade lifts in a limited action and both hands perform a 'levering' action which results in a short sharp blow suitable for free practice or contest. Tenno-uchi should not be confused with 'inside palm' and when striking the Kote the blade merely passes over the opponent's point and when striking the Do it is canted back to the attacker's left should, much as when passing after cutting. Sashigari - thrusting cut. This is often termed Oshigari (thrusting cut). The blade is not lifted above the target level but thrusts straight forward and a sharp crisp blow results in positive footwork with well-timed Shibori (wringing action) as well as complete suppleness during the delivery. In normal cases the Kote must be attacked by passing over the opponent's point to the other side but with this technique the attacker can drop his own point and pass straight in. This is sometimes termed...
There ark four ways to pin an attacker pressing against the bones, twisting the muscles and joints, pinching the skin, and grabbing the hair. Attacks directed toward the skin and hair can be countered comparatively easily, and thus the techniques for dealing with such attacks have traditionally been kept secret in the Daitoryu. However, this section will introduce several such techniques, and conclude with instructions for dealing with an tike who is armed with a sword or with a jo (four-foot staff).
People find that staying strong and open vastly lessens the physical and emotional discomfort they experience when they are attacked, and they realize that most of the discomfort they experienced they actually created themselves by their tension or limpness and resistance. They realize also that when they were tense or limp, they were shutting down their awareness of both themselves and their partners, alienating themselves from themselves and from the attacker. Receiving the attacker and the attack in a mind body state of power, love, and expansiveness, people find that they do not react with fear or anger and that they can continue to experience a calm connection to the attacker rather than feeling an urge to hurt and destroy him or her.
I generally employ posturing when verbal dissuasion is not working. You can usually tell when this occurs because the attacker will keep moving forward and touching the fence a very bad sign. Distance close down is one of the final precursors to a physical attack. I never let anyone touch the fence more than twice -it's too dangerous. What the 95 Rule tells us, is that in violent conflicts of a self-defence nature (eg. street fights), 95 of the people are going to react in exactly the same way. As in warfare between nations, the same rules apply to a small conflict between two people, or any situation that the brain sees as contentious. This is a war in microcosm -a small war. So 95 of us, when faced with conflict, are not going to want to be there, we too are going to become conscientious objectors. What this fact allows us to comprehend, is that the majority of people don't want to fight and if we can give them any way out they, and we, will take it. The instinct to run as opposed...
If you have one person in the choke restraint and are approached by another potential attacker, release your left hand from the choke, grip your shirt top with your right hand to keep the choke 'on' and use the left hand as ' fence' to keep the other guy at bay. All the time being very careful not to leave the choke on too heavy or the guy will fall unconscious. If the other attacker persists in coming forward re-connect the choke and turn the guy that you are choking towards his friend accomplice so that he is now 'fence' between you and he. If the second attacker still persists and you think that an attack may be imminent (some people get very upset when you touch their mates), you may be forced to place the choke on full and KO the person that you are restraining. When you do so slam him onto his back, unconscious, between you and his friend. His KO'd body will act as fence between you and attacker number two. This will give you ample time to escape.
This is the complete ritual but occasionally, depending upon the victim's response, the attacker may jump steps. For instance he may move directly from the question to the actual challenge, so an early exit is always advisable. I am aware that we are going over old ground here, but it stands repeating. Try and use a physical response only as a last resort. A young man walking down the street alone will think nothing of ignoring a group of barracking men across the road. However, put the man in the same situation and add a female companion, and that man will be ready to argue and fight the world to defend his manhood -even though his lady is begging him not to get involved. These insults mean nothing and should be ignored. As I said earlier 'it's not personal ' Lads, the ladies are not impressed when you walk into a fight that you could have walked out of. I have been involved in many hundreds of fights and can categorically state that it is the stronger man that can walk away, so...
If, for whatever reason, you find yourself in front of a potential attacker who is constantly touching the fence and giving you signs that an attack is imminent and you can't bring yourself to attack preemptively, then you need to create a gap between you and him and take the fence to a conscious level. That means that he will realise that you are taking control. If he is trying to bridge the gap and take down the fence, but you are not prepared to attack then you MUST take the fence to a conscious level or you are facing grave danger. The fence will be crushed and you attacked as a consequence. It is important with the conscious fence to create a gap about 5 feet would be good -between you and the assailant. You can do this by stepping back (or pushing him back if you can't step back for some reason) away from the attacker, whilst simultaneously using your lead hand to shove the attacker so that he also goes back. You can also create a gap by using a slap and...
Harai is performed with a semi-circular sweeping action, which spirals forward to turn the opposing blade aside. On an advancing step the attacker's blade is circled to the right, downwards then upwards to the left, striking the opponent's blade sharply to his own right and opening the inside attack line. The action is made by turning the blade with the left hand, as shown in diagram 13. Harai-men is shown in plates 126 and 127 and can also allow for Tsuki. The outside attack line is opened by circling over, or under, and snapping the opposing blade to the attacker's right. This exposes the Men, Kote and Tsuki, and if taken correctly will also open the Do line. A very wide sweep is classified as Nage-barai, or long sweep, whilst a sharp sweep caused mainly by Shibori (wringing) is termed Hari-barai.
In this kind of sparring, the attack and the target are both predetermined, the participants facing each other from a fixed distance and taking turns to attack and defend. Commonly, beginners will practise both one-step and five-step basic sparring. To begin either kind, the attacker steps back into zenkutsu-dachi (gedan-barai) while the defender waits in hachiji-dachi. In five-step sparring, the attacker announces whether the attacks are to be to the face (jodan) or stomach (chudan) and then takes five steps forward, attacking with each step. His partner takes five steps backward, parrying each attack and countering with a 'kiai' after the fifth and final attack. One-step sparring is similar, but only one attack is made which is Jiyu-ippon kumite (free one-step sparring) is the next step towards free-sparring. Both the attack and the defense are again pre-determined, but this time each participant assumes a ready position and moves around, the attacker...
AIKIDO is a modern Japanese martial art especially suited to the needs of today. It is a non-violent form of self-defense and a discipline of mind body awareness and integration. Aikido defense techniques consist primarily of joint locks and throws and are based on receiving the attacker with compassion and going along with the power of the attack to defeat aggression.
What is the real problem being addressed in Aikido practice The real problem is fear and anger and the spiritual isolation and alienation created by fear and anger. When the attacker attacks, we harden ourselves and separate ourselves from him or her. Aikido techniques must be done lovingly to be combat effective. The effort in Aikido practice is to remember to observe yourself as you do the techniques and create an inner sense of power, compassion and expansiveness as the foundation for the outer defense technique. That is real Aikido practice, and if you work on that, you will find Aikido affecting your whole life.
Beginners often feel uncomfortable being attacked or acting the role of the attacker. However, the attack defense process is a model for all of life's challenges, and learning to handle feelings of discomfort in Aikido is a way of finding harmony in all of life's difficult moments. In Aikido, the attack is a gift which allows us to practice and grow. There is no ill will in the attack or the defense. During practice, the instructor will ask people to help demonstrate the techniques to be practiced. Of course, someone has to act the role of the attacker in order for the instructor to demonstrate the defense. Many people feel shy about demonstrating in front of the class, but everyone gets used to it. It is an opportunity to participate and learn, but you can always ask not to be used if it makes you too uncomfortable.
But when Good is limited to passive stonewalling in the face of active, aggressive Evil, the exercise becomes Can I continue turning the other cheek long enough that he wears out his arm hitting me, gets bored, and goes away This protects neither the attacked, the attacker, nor the overall situation. 'Turn the other cheek' is Aiki, said Ueshiba. But in Aikido, we would turn before the blow. Thus the attacked is savedfrom pain and the attacker is saved from sin.
Conditioning You should be in physical shape to have the stamina for the test, doing your own techniques and also acting as attacker for another person taking the test. If you need advice on conditioning, ask the head instructors. Attacking In addition to the defender's movements in the specified techniques, you must be prepared to demonstrate that you understand the attacker's movements. In a test, the attacker and the defender are cooperating to demonstrate what Aikido flow should be.
Get All The Support And Guidance You Need To Make Sure You Are Safe In This Crazy World! This Book Is One Of The Most Valuable Resources In The World When It Comes To The Art Of Self Defense The Easy Way! Try not to get ensnared in your own little bubble and be cognizant that there are people outside of your domain. Whether we like it or not there are individuals out there whose aims are not always advantageous.