please let me know which style you would like to bee revealed here. Just type the name of the style and the description will soon follow.
Now here is one style that would catch your eyes, and should be incorporated in the MK series. However it is one of the rarest forms, and not much have been found on the Internet about this style.
Style: Dim Mak, also know as Death Touch, is the ancient martial art of striking vital points of an opponent's body. These strikes are engineered to cause “knock-out”, death or delayed reaction in the opponent. These vital points are the same as used for healing in acupuncture and other Asian healing arts. Dim Mak is an integral part of all martial arts. However, very few instructors know much of specific Dim Mak techniques, and those that do are reluctant to pass on this knowledge to their students.
Who from the MK characters would deserve this style? (instead of another I think this would go to Havik instead of Snake, so Shang Tsung would get his style back)

another one is here, I think this would suit Shujinko ina future game well.
Style: Pak Mei
White Eyebrow (Pak Mei) Kung Fu is one of the rarest styles known. Pak Mei Kung Fu was created by the Taoist Monk Pak Mei, during the Ching Dynasty in China. Pak Mei Kung Fu is one of the few systems that combines both Shaolin and Taoist practices into a single fighting style. Sifu David Garcia is a 6th generation disciple of Master Man Kwong Fong. Sifu Garcia has been studying Pak Mei since 1975 and continues to study with Master Man Kwong Fong. Master Man Kwong Fong is the last and youngest student to train extensively and learned the complete system of Pak Mei Kung Fu under the personal instruction of The Late Grand Master Cheung Lai Chun. White Eyebrow Kung Fu is an internal and external system of martial arts. It has a variety of kicks, punches, ground fighting techniques, weapons and Pak Mei Chi Kung. It is one of the most difficult styles to master.
this also was quite hard to find, so expect further attachments for this style. Hope I can find further info on this, I saw it in live action and its well...it rulez

Impressive, I wonder what book you got the history of Kenpo out of. I was suprised you added Parker but not Sullivan or LeRux....Very good though.

Got any info on Sambo or Escrima?

Fighting style: Sambo
Used by: Cyrax
Used when: MK Deadly Alliance
History of Russian Martial Art
Russian Martial Art has a martial evolution which can basically be divided into four periods of influence. The first period of influence can be considered the period of tribal combat. Predating the advent of recorded history combative sports and grappling contests were constantly being held, particularly during holidays and celebrations. The forefather of Russian Martial Art, these skills were passed on from father to son, and comprised tribal rites of passage, from childhood to adulthood.
Between the sixth and tenth century combative sports influenced the connection between tribal combat and hand-to-hand combat skill due to the incessant attacks from the peoples of the North and the West. In particular, a scholar by the name of Prokopiy Caesarean noted the Eastern Slavs to be fearless fighters, rather skillful in close quarter combat. During this same period, the Gothic historian, Jordan, also wrote about the Slavs being courageous warriors.
Not unlike the Chinese, who had their own patron saint of the martial arts known as Bodhidarma, the Slavs, too, had their patron deity, known as Peroun. Martial contests and games held in his honor, led to the inevitable creation of a Slavic school of martial art. The effectiveness of this school of combat was proven by the victories of both Mstislav the Daring over Rededia, the prince of the Kosog people, and of Nikita Kozhemiaka over a Hercules of the Pecheneg people. It is important to note that these sports were conducted without individual competitive success in mind, but for the mutual benefit of the tribe and for celebration.
Also, not unlike Chinese martial art, which were outlawed by the Chinese government during certain periods in history, so too was Russian martial art denounced, this time by religious groups. Religious prohibition, however, could not uproot the continued development of the Russian martial traditions. On the contrary, it was during religious holidays that brave warriors continued to compete in "Wall-fighting" on the ice, Russian fisticuffs, stick fighting, and other weapons skill.
The second influential period in the evolution of Russian Martial Art, known as the Norman period existed from the ninth to the thirteenth century. This period, with the refinement of metallurgy, saw many developments in the Russian martial traditions. Warriors adopted the use of the kolchuga (mail shirt) for body armor, the myech (long straight sword), the shelm (round, hemispherical iron cap) as helmet, and the long, almond shaped "kite" shield. The evolution that occurred during this period was a direct result of enemy attacks from the Western and Northern peoples. The need to adapt to this particular threat demanded the creation of flexible martial tactics, both in preparation and in application.
With the third period of influence beginning in the thirteenth century, the influencial exposure to an Eastern, Mongol and Tatar influenced style of weaponry began to take form. During this time sabre, the Cossack Shashqa (long sword that is halfway between a 17th century saber and a 14th century shamshir [scimitar]), round shields, and eastern style body armor appeared in general use. A special Cossack weapon was also developed that is terribly lethal against the Eastern threat: the Nagyka (lead-filled short whip). The influence is most certainly the result of confrontations between the Cossacks (the semi-nomadic frontier warriors of Russia) and Ghengis Khan and his Golden Horde. The four hundred-year occupation of Russia by the Horde had tremendous impact on the evolution of Slavic martial traditions.
It must be understood that this was an evolution, not an adoption or internalization of foreign doctrines, which took place during the occupation. For example, the Slavic word, "yar", signified life's strength and its manifestation. Considering themselves descendants of Dazhdbog, the god of sunlight, they lived by a solar calendar and in combat they used their "yar" strength or energy, which was manifested in their solar plexus. In eastern martial traditions, internal energy or chi has its own focal point, which is located in the lower portion of the stomach, the dantien. Human biorhythms also followed the lunar cycles. However, this coexistence led to the eventual understanding of the enemy. To defend against an enemy, one must know one's enemy. Much was learned from this period of occupation.
At the beginning of the seventeenth century the third period saw the gradual introduction of Western influences, conversely the influence of the Oriental styles slowly diminished. The continuing refinement of firearms inevitably led to the exclusivity of Russian Martial Art. The case being that it is much easier to teach someone how to fire a pistol, than it is to teach him how to be proficient with autokinetic movement (human biomechanics). At this point, skills began to be taught exclusively by old families that remained true to the heritage of ancient Slavic martial traditions.
It is interesting to note that in Western Europe, Musketeers were distinguished and separated from spearmen, which resulted in significant disadvantages during battle; one warrior had only a defensive weapon or only an offensive weapon. For the Russian Martial Artist, whose training is based on natural movement, any weapon could be employed for any melee objective. This period served to fortify the exclusivity of Russian Martial Art.
Besides firearms, the Russian Martial Artist possessed an array of diverse weapons; the latter ones, respectfully called "honest weapons," were preferred over firearms. As Suvorov's old saying goes, "The bullet is for the fool, the bayonet for the good guys," and reflected one of the important tactical goals of combat--movements which quickly transfer to the venue of hand-to-hand combat, where the Russian Martial Artist possessed a marked advantage.
The fourth and final period of influence, known as the Global period, begins this century with the advent of the October Revolution and the introduction of the Bolshevik regime. During their regime, the Bolsheviks wanted to repress all nationalistic martial traditions of native lineage. The result of this was the creation of a group assembled by Stalin to develop a combat system and national sport that would unite the Soviet State under one combative tradition and one national sport. The sport was Sambo. Russian Martial Art is the mother of Sambo, but due to the influence of foreign "tricks", Sambo soon became a mere curriculum of techniques lacking any high degree of depth and substance. At higher levels within the military, among the elite combat subdivisions of the Special Forces ("Spetsnaz"), Russian Martial Art remained in practice under the concealed title of Combat Sambo Spetsnaz. Even though classified with the label of "absolute secrecy", the training was often referred to merely as "The System".
The contemporary training of Russian Martial Art, culminating from each of these periods of influence and development, is known as ROSS - "All-Russian Native Self-Defense System". ROSS is the national training system of Russian Martial Art, approved and recognized by the National Olympic Committee of Russia as the only representative of Russian Martial Art, within Russia and abroad.
The original royal family lines of pre-Soviet Russia, during the century of Soviet oppression, were not without alternatives for their sons. Entering their sons into the most grueling and dangerous military teams in the USSR, the Spetsnaz, allowed them to hide the ancient Slavic martial traditions under the appearance of "Combat Sambo Spetsnaz." The sons of the royal families continued their training among the special operations units of Spetsnaz in order to select elite, trustworthy individuals with which to share the truth about the origin, nature and characteristics of Russian Martial Art. The difference between Sambo and its mother, Russian Martial Art, becomes easily distinguishable to the experienced practitioner. One family, the Golitsin family, survived the entire lifetime of the Soviet Union. Prince Boris Vassilievich Golitsin, in particular, trained few individuals including the Founder of ROSS, Golitsin's student prodigy, Commander Alexander Ivanovich Retuinskih. Prince Golitsin attended the induction ceremony of the founding father of the American Academy for Russian Martial Art and Combat Skill, Scott Sonnon, to give special insight and training and to offer his personal blessings to Commander Retuinskih's decision to induct Sonnon as a student of Russian Martial Art.
The Global period of influence dealt with the nature of combat during this century. Therefore, weapons adopted by the Russian Martial Artist included bayonet-equipped AK47 machine gun, the earlier SKS rifle, even earlier carbine, the spetsnozh (special forces knife/bayonet), entrenching tools (shovels), throwing knives, batons, military belts (used as whips and immobilizing shackles), pistols, sword (European sabre and Cossack shashqa), axe. The many wars and battles of this century are a horrific testimony to the effectiveness and longevity of the Russian Martial Art; its vanguards, the trainers and elite operatives of the Russian Special Forces, waged campaign after campaign with epochal success. This period of influence eventually evolved, once again, with the dissolution of the Soviet Union into a form of civilian empowerment and rejuvinated cultural heritage and pride.
The first non-Russian in history inducted into this heritage in the hopes of propagating this Global period of influence was Scott Sonnon, Executive Director of the American Annex to the Federation (http://users.success.net/karamazov, amerannex@redrose.net) and Executive Director of the American Academy for Russian Martial Art and Combat Skill (http://www.redrose.net/amerross, amerross@redrose.net). Now, a British Annex has been formed in the same hope of introducing Russian cultural martial traditions Great Britain. The legacy in the Americas is gaining potency as Mr. Sonnon continues to spread the message throughout the continent.
Characteristics of Russian Martial Art
A metaphor for understanding martial art may be found in medicine: the two approaches, allopathic and homeopathic. The allopathic approach combats the symptom; the homeopathic approach amplifies and utilizes the symptom in the therapeutic process. The homeopathic approach is seen in very few forms of martial art, for it orients not on attrition, not on conquering and controlling adversary, but on non-resistance and amplification. The homeopathic approach does not resist force (symptom or foe). It does not impose force against force or resist force with subsequent force, but finds alignment with the nature of the conflict, empowers it, and guides it to resolution. Only three martial art forms appear to practice this approach: Aikido, Tai Chi Chuan, and Russian Martial Art.
The acumen of Russian Martial Art, as a result of the homeopathic approach, is based upon a unique amalgam of the concepts of non-violence, cooperation, non-resistance and plasticity.
One could interpret Non-violence as being present in certain esoteric Chinese schools of martial art, in soft, natural movement, as well as in the flowing motion of the Morihei Ushieba's Art of Peace. In the coordinated search for harmony of Aikido and in the soft, sensitive Pushing Hands of Tai Chi Chuan, one can see indications of the homeopathic approach, of preferring internal force over external muscular power. However, Russian Martial Art differs from both the Art of War, which we have seen above, and the Art of Peace, such as Tai Chi Chuan and Aikido. This should be obvious for War and Peace are corollaries of the same doctrine. Non-violence is perpetually confused with Peace. Peace is the cessation of War; and War exists only in the culture of the practitioners of ad baculum (Might Makes Right). A bobcat killing a rabbit is not violence or warfare, though the doctrine of ad baculum would attempt to convince you so. A bobcat killing a rabbit is seen as violent, and therefore not peaceful, and therefore 'bad' or 'evil'. Since War is seen as an innate human condition, and not as the cultural creation it truly is, survival is misperceived as warfare. Non-violence refers to neither War nor Peace, which were exclusively fashioned by a specific culture of humans, not to be found anywhere else in the community of life. War and Peace are two wheels of the same cart, trudging along unstable in its anthropocentricity, ignorance, and doom.
Non-resistance is often confused with passivity and submission. However, once again, this is the myopic lens of a warfaring people imposing the One Right Way of Might Makes Right upon natural behavior. Also, contrarily, there is the opposite pole, within this culture, that advocate, pacifism (until a "just" war or until an "unjust" crime must be stopped, conditions that threaten the cultural lifestyle, but that were created by it and are inextricably intertwined in it). Pacifism is as abhorrent as aggression, Peace as detestable as War, since both are complementary of the same cultural construct. It is this culture, the Totalitarian Agriculturists, that only when situations are 'Right', expresses no need for 'Might'; or more appropriately, to ensure that situations stay Right there is a silent threat ["Cold War"] of Might, and proactive employment of Might to ensure future Rights. As long as this culture of aggressive/passive is not threatened, or questioned, and as long as all other viewpoints are silent (or better, extinct), there will be Peace. True Non-Resistance is ‘going with the flow’ of life. Non-Resistance does not create force, nor oppose force. In this culture, societies go to War in the name of Peace. In this light, it is easily discernible that Pacifism is not Non-resistance; it is merely another form of resistance: resistance through non-action, the silent caveat of action, and proactive resistance to create a future state of Peace.
Cooperation is thought by this culture to promote singularity, when, in actuality, the true goal of Cooperation is diversity. Cooperation is not done in the name of ludicrous altruism, but simply as a matter of biological necessity. There is no concept of magnanimity, no mercy, nor of vengeance or righteousness. In the absence of the cultural paradigm of War/Peace, a dolphin assisting a human under shark attack is no more and no less noble than the rabbit who, though striving valiantly, gives up his life for the bobcat. Cooperation is only possible when we no longer attempt to conquer, control, and rule the World, imposing upon it the cultural concepts of 'good' and 'evil'. True Cooperation is only possible if we exist as equal members in the community of life. Our life does not belong to us alone; it belongs to the community of life.
Russian Martial Art is distinctly different from all other forms of martial art in the value of complete Plasticity. Not merely the absence of resistance, not merely the presence of cooperation, nor merely the position of non-violence, plasticity is pure adaptability, pure malleability. The concept of Plasticity is the appreciation that combat, like life, is dynamic and comprises infinite variables, both internally (infinite scenario variations) and externally (infinite scenario volume). Logic and research shows that survival access to an exact, appropriate response to a threat requires an infinite number of possible maneuvers. The most accurate, recent studies on functional neuromuscular pathways indicate that approx. 8,500 -10,000 repetitions would be required to ingrain merely ONE non-native or "foreign" bio-mechanic (physical activity not specific to a particular individual) into the muscle memory of a human musculo-skeletal frame. This is only for one "technique" (or called "tricks" in Russian Martial Art). Thousands upon thousands would be required in order for an individual to sustain survivability.
Therefore, Russian Martial Art reminds us that we are capable of spontaneous, innovative, original response to every conflict situation. A master of Russian Martial Art is, as a result, though completely vulnerable, utterly impregnable. Not untouched, on the contrary, the Russian Martial Art master maintains contact until a threat is inoculated (made harmless). The master absorbs blows effortlessly, contorts the body to accommodate the threat, manipulates through sensitivity to the subtle alterations in the application of the threat. The premise is that if one understands how humans function in the under extreme duress (Survival Arousal Syndrome) and if one knows the principles of survival, one can create innovative appropriate reposes to any conflict. "No techniques. Pay attention to the principles," is the cry of the Russian Martial Art trainer.
As the President of the International and All-Russia Federation states in the field manual of Spetsnaz hand-to-hand combat, "All you must do to defeat adversary is stand there. From any position, any move." Survival Combat is too organic to compartmentalize it into regions of address. In order to move freely, unadulterated by abrasive designations of static training, one must see no barriers, one must possess no limitation, no impossibilities. Due to this concept, and in contra-distinction to all Eastern Martial Art forms, the center of gravity is not 'hara' (located two inches below the navel; called the 'lunar plexus' in Russian Martial Art). The center of gravity is the solar plexus, granting greater mobility and plasticity to the practitioner. Stances, as a result, are relaxed and varied, and as are there no fixed stances, there are no fixed "tricks". No techniques, no stances, no sequences, no kata, no ranges, no rules....
As a result of the natural, homeopathic approach, there is a great disparity between Eastern Martial Art and Russian Martial Art in more than just operational strategy; there are differences in pedagogy and training methodics..
In order to return to the state of non-violence, plasticity, cooperation and non-resistance, the training process is more important than the product. In training, the Russian Martial Artist fights without the aim to "win". This is a concept misunderstood by both practitioners of the Art of War and the Art of Peace alike. "It is the fight for movement's sake." Strategy teaches to align with force, decompose the force, prolongate the application and trajectory of force, and redirect the force. Years of uncoordination and stress is unlearned through the rigorous bio-mechanical exercises of Russian Martial Art. There is no stress or conflict management in Russian Martial Art, nor stress or conflict reduction, but conflict and stress elimination.
A heavy concentration is placed upon learning the principles of survival: the nature and climate of conflict, the doctrine and strategies of survival. Mindfulness is emphasized instead of mindlessness of the Eastern martial tradition ('mushin'). Mindlessness is necessary in forms of martial art that are limited to specific abrasive diagrams of behavior and movement. Mindfulness is available only to the philosophy that accepts no limitations in behavior.
Due to an early understanding of the principles of survival, the Russian Martial Art student gains an early autonomy and independence from the instructor. The student, from the first day of training, exponentially increases in skill and mental state, for Russian Marital Art is not about Information, but Transformation. Practitioners of the Art of War and Peace react violently to hearing this fact. All of the training in the Art of War and Peace is founded upon practice of specific limited "tricks", or rather on the monitored paranoia and slow-release of information.
The culture of the Totalitarian Agriculturists is based upon the concept of 'work'. Created by this culture, this concept states that the harder and longer one struggles, the more noble the person becomes, and more wise and enlightened and happy. The notion of 'work' is not advocated in this form of martial art. Natural activity is endorsed, which is our biological heritage. Russian Martial Art does not require the pharmaceutical accuracy of decades of long, grueling "work" because the student does not learn limited tricks, but concepts and bio-mechanics (how to become fully human again). The student is not taught some artificial creation, the student is reminded of the natural motions and natural happiness of children. This level of happiness is held in contempt by the culture of 'work'. Observation of, or participation in, Russian Martial Art conveys that the training is extremely grueling. However, the curiosity for members of the Art of War and Peace is that Russian Martial Art participants are continually, inexhaustibly laughing, smiling during training: during activity others would perceive as arduous ‘work’.
The most violent reaction of the practitioners of the Art of War and Peace comes when they hear that the goal of the Russian Martial Art teacher is to share with the student how to teach themselves. Every student is an instructor. Every student is a master of their movement (our biological heritage), because it is chosen to be that way. Authority and mastery is not deferred to some external figure. Martial art is not something external to be sought (and ‘worked’), nor a curriculum to be learned, nor secret tricks to be discovered, nor massive brawn to be gained. Martial art is within each creature, natural in some, completely Forgotten in the human culture of ad baculum.
Benefits of Russian Martial Art
This ancient form of Martial Art is the Art of Survival. Students recapture natural athletic and learning capabilities, which the Totalitarian Agriculturists, the ad baculum attritionists, the seekers of power over others, name them whatever, believe to be limited to only the 'virile youth' who have not yet been introduced to the "real world", the world of 'responsibility', the world of 'duty and guilt', the world of 'work'. Mental barriers learned over the course of a lifetime are broken down by de-conditioning the mind to impossibility, by liberating the student from the oscillating paradigm of aggressive/passive behavior, by confronting culturally-imposed fears, by refining the natural awareness of the hunter-warrior, and by eliminating the culturally-imposed barriers to happiness, ease, grace, compassion, wisdom and harmony. The results of this training are incalculable, though marked by increased stamina, improved breathing capability, enhanced athletic ability, the elimination of societally-induced stress, the permission to be the authority over ones own mind, the permission to question and to doubt, and the development of a spiritual firmness and strong physical presence that is the birthright of all human beings. Every human is capable of returning to the Law of Nature, Russian Martial Art, the Art of Survival, is one path.

Style: Escrima
Used by: Quan Chi
Used when: MK Deadly Alliance
Centuries old, the Filipino warrior arts have long been the backbone of Filipino society. It was the practice and preservation of these arts that have kept the Philippine archipelago from permanent domination by a foreign power. There are several hundred styles of these warrior arts presently being preserved and taught throughout the Philippines. Although known by many names, often descriptive of the styles and names of their founders and enemies (i.e., Binas Arnis, Italiana style), the Filipino warrior arts can be classified by three distinct territorial styles --Arnis, Eskrima, and Kali -- that are found in the northern, central and southern Philippines, respecti-vely.
It has been postulated that the Filipino art of Escrima originated in India and that it was brought to the Philippines by people who traveled through Indonesia across a land bridge known as the Riouw archipelago that linked the Malay peninsula to Sumatra, and across another land bridge that connected Malaya to the Philippine islands. Indonesian Tjakalele and Malay Silat Melayu are two forms of combat said to have been introduced to the Philippines via these now-sunken routes. The ninth century Tang dynasty brought goods to the Philippines from East Asia and Malaysia. These countries' combat methods of Kuntao and Silat had a great
influence on the development of Kali, which is the "mother art" of the Philippines. Legends claim that ten Datus (chieftains) left Borneo and settled in Panay where they established the Bothoan in the twelfth century. The Bothoan was a school where the Datus taught Kali along with academic subjects and agriculture. It was a kind of preparatory school for tribal leaders. During the fourteenth century, a third migration of Malaysians to the Philippines took place. These immigrants were the ancestors of the Moro (Muslim) Filipinos of Mindanao and Sulu. They spread their cultural-religious beliefs as well as their Kali systems, which utilized bladed weapons of varying lengths. Datu Mangal is credited with bringing the art of Kali to Mactan Island; Sri Bataugong and his son Sri
Bantug Lamay were said to have brought the art to the island of Cebu during the Majapahit Empire. Raja Lapu Lapu, the son of Datu Mangal, through constant struggle and war, developed a personalized Kali subsystem known as Pangamut. In the sixteenth century, he and Raja Humabon, the son of Sri Bantug Lamay, began to quarrel. A battle was mounting as Lapu Lapu accused Humabon of wrongfully taking land that belonged to his father. The battle, however, was never to take place, as the Philippines were unexpectedly visited by the Portuguese explorer
Ferdinand Magellan.
In the early part of the sixteenth century, the Spanish set sail in search of a
westward route across the Pacific to the Indies. Commander Ferdinand Magellan's fleet of ships accidentally stumbled upon an unknown archipelago. On March 16, 1521, Magellan came upon the island of Samar. He decided that it was in his best interest to wait to attack, and thus dock at a nearby island. This island was uninhabited and so Magellan's fleet took a few days of needed rest.
On March 18, the Spaniards took note of a boatload of natives coming toward their ships. Commander Magellan, seeing a strange opportunity, greeted them in friendship. This friendship was to develop, and the native islanders familiarized Magellan with the names of the surrounding islands that made up the archipelago. With assistance of the ship's priest, Magellan baptized Raja Kolambu, the chief of Samar, and also Raja Humabon, the chief of Cebu, converting them to Catholicism and ultimately Spanish allegiance.
On April 27, Magellan led an expedition to nearby Mactan Island in hopes of conquering and then presenting it as a gift to Raja Humabon. Unfortunately, as he and 49 Spanish conquistadors disembarked from their ships, they were confronted by 1,050 islanders, led by Raja Lapu Lapu, armed with iron-tipped fire-hardened bamboo lances and pointed fire-dried wooden stakes. Greatly outnumbered, Magellan was killed by the spears and arrows of Lapu Lapu's men. In 1543, Ruy de Villalobos, sailing from New Spain (Mexico), landed south of Mindanao and proceeded to name the entire archipelago the PHILIPPINES after
King Philip II of Spain. It was not until 1565 that Miguel Lopez de legazpi,
authorized by Philip II, colonized the island of Cebu, and a foothold was secured in the Philippines. When the Spaniards traveled to the island of Luzon in 1570, they found it inhabited by Filipino, Chinese and Indonesian cross-cultures, and upon their arrival they were confronted by Kalistas (Kali warriors) whose fighting method far exceeded theirs. But the Spaniards, using firearms defeated the inhabitants of Luzon. From then on, the art of Kali was prohibited, but it was still practiced and perfected by a dedicated few. The arts were then preserved in native ritual dances
called sinulog that had mock battles with swords as finales. Ironically, these dances were often performed for the Spaniards' enjoyment.
Kalistas practiced their arts diligently, and hence developed extreme accuracy, speed, and agility. These attributes were a must. Because the Spaniards' swords were sharp and readily cut through the Filipinos' wooden weapons, many strikes to nerve centers along the body and limbs were mastered, allowing the Kalista to disarm and disable his opponent with a flurry of attacks.
During the 330 years of Spanish reign, after many skirmishes with Spanish fencing exponents and after careful observation, the art of Kali was altered. Many training methods were dropped and many new concepts and techniques were added. This, coupled with the influence of Spanish culture and language, prompted the evolution of Eskrima (aka. Arnis de Mano). It was the Spanish rapier and dagger systems that had the greatest influence on the development of Eskrima. The use of
numbered angles of attack as well as what have become traditional Eskrima uniforms, were both influenced by the Spanish. It is also interesting to note that although Tagalog is the national language of the Philippines, many of the top Eskrima masters still teach their arts in Spanish, today.
Spanish rule in the Philippines lasted until 1898 when Spain was defeated in the Spanish-American war. During this long period of colonization, the Spanish had some important effects on the Filipino culture. Firstly, most of the population was converted to Roman Catholicism with the exception for the Muslim Moros of the
Sulu archipelago. Spanish fencing also had a direct effect on the fighting arts of the Philippines, with the introduction of the angles of attack, and the use of Espada y daga. When the Spanish imposed a ban on the practice of all native fighting arts and the carrying of bladed weapons during their occupation of the islands, the Filipinos were forced to substitute the use of the sword with that of the rattan. In the beginning, the rattan was used to deliver strikes in the same manner as the blade i.e. slashing and thrusting, and the knife or short stick was still held in reserve
as a back up weapon in case the opponent closed the distance, typical of its use by the Spanish. It was hardly ever used to block or parry an oncoming strike. However, through time, the Filipinos began to realize that because the stick had different handling qualities, certain lines of attack were open to them that were not available with the sword, for example, the curved and snapping strikes. Once they began to appreciate the combat effectiveness of the stick, the use of the knife also changed and began to be used more aggressively in terms of blocking, parrying, checking,
scooping, thrusting and slashing. This in turn led to the creation of "Olisi y baraw", which is the stick and dagger.
Studying Escrima
A student is first introduced to the art by learning basic stick exercises. He or she is shown the basic twelve offensive strikes. These are practiced extensively before the student is permitted to advance to the twelve basic defensive blocks. After the student becomes comfortable with the basics the more advanced forms are practiced, "doblebata", which is the two sticks, "espada y daga", "saboy", which is one long stick, and staff, which is the two handed stick.
One of the more exciting forms is "one for one" in which a strike is delivered, blocked by the opponent who follows with a strike to the closest area immediately after the block. This form of fighting can continue for long periods and is the closest thing to actual fighting. There are many variations such as hand-against-weapon and hand-against-hand. The most advanced forms of Escrima are the counter-for-counter movements. The loser is determined when he/she cannot counter the other's move.
Emphasis is placed on the student's ability to learn and progress, advancement in the ranks is based on ability, and the observation of the instructors rather than merely the length of time spent in class. One student may advance quickly while another may be slow to advance, but everyone is given the same chance to learn.
The three key elements to learning Escrima are fluidity, rhythm, and timing. There are few sharp, sudden movements, only smooth flowing transitions from each movement to the next. The flowing skills are the most important and most difficult to learn and apply.
Respect for the master, the instructors, and all other martial arts schools are a very important part of the training. The physical and spiritual aspects of Escrima are nurtured simultaneously. As in the former days of Escrima, secrecy and self-control are stressed. It is only in public demonstrations that the student is encouraged to share their martial knowledge. In days of past, many of the old Escrima Masters would choose to die with their martial knowledge rather than teach it to someone that might disgrace the Master. Remember to always respect the art and the master.

Chrome,I searched for Ying Yeung and I got Yin Yeung.It had a few other words though(Chinese).It was a form of Choy Li Fut.It said it was Continuous Dual Kicking Something.But when I translated it,it said it was Yuan Yang,which is one of Frost's styles.Anyway,I'm pretty sure that Ying Yeung means"Way of The Eagle".Ying means "eagle,falcon,hawk"(It has a LOT of other meanings but this stood out the most) in Cantonese and Yeung which isn't in Chinese is actually Yang in Chinese.So,"Yeung" in Cantonese is "Yang" in Chinese.So it's actually Ying Yang.As for Yue Chuan,I'm not sure.One word in chinese such as "yue" has a lot of meanings.

Kali Sticks would be nice.

Ah, one of my favourites...
Style: ninjutsu-various styles in history
Used by: Cyrax
Used when: MK Deadly Alliance
Ninjutsu is the practised art of the Ninja. Ninjutsu is a Japanese martial art that emphasizes stealth in movement and camouflage. Ninjas were a group of mercenaries in feudal Japan who were trained in stealth and the martial arts and employed as spies, saboteurs, or assassins.
The two oldest styles of Ninjutsu that are still practiced today are Iga Ryu and Koga Ryu. Ninja are skilled in a variety of martial arts including Judo, Jujutsu and swordsmanship. Ninja use a shorter sword than the Samurai and prefer to carry it strapped to their back. As well as these martial arts they are skilled in a variety of Ninja weapons - such as the shuriken (throwing star), throwing knives, stick fighting, and chain arts.
The Ninja originally were also experts at disguise and concealment, which enabled them to gather information or act as assassins for Japanese warlords. This was work that others, such as the Samurai - who were bound by their strict code of Bushido - were reluctant to perform.
Ninjutsu evolved and developed as a way of life for the survival of a Japanese people culturally opposed to the ruling Samurai class of the day. With a traceable history of 1000 years the Ninja were most notable for their skills and activity during the Japanese Civil War periods of the l3th-l6th Centuries. All martial arts were stripped of warrior significance when peace came to Japan in 1868 (Meiji Restoration) but the teachings of Ninjustsu went underground and was brought to modern times by the 33rd Grandmaster, Toshitsugu Takamatsu. As the lore of the Ninja were passed down to the 34th Grandmaster, Dr. Masaaki Hatsumi (Dr. Hatsumi is classed as a living treasure in Japan), Ninjutsu was made available to the Western World for the first time in the 1970's.It came to the U.K & Europe in 1983.
.TOGAKURE RYU NINPO
The ninjutsu ryu of the Togakure family was not formalised until three generations after Daisuke Togakure began to develop it. Allied with a clan that was defeated in a series of battles against superior forces, Daisuke lost all, including his samurai status, and escaped to the mountain wilderness south east of Kyoto. Wandering among the pine forests and marshes of the Ku Peninsula in A.D. 1162, he met the warrior monk Kain Doshi, who had fled to Japan from the political and military upheaval in China.
There in the mountain caves of Iga Province (within present day Mie Prefecture), Daisuke studied with this mystic, learning new concepts of warfare and personal accomplishment based on Chinese and Tibetan ideas about the order of the universe. Daisuke was taught the practical applications of the balance of the elements in diet, in combat, in thought and emotion, and in utilising the forces and cycles of nature to his advantage. Thus, away from the limiting conventions of samurai conduct that he had never thought to question, He discovered a completely new way of working his will. It was Daisuke's descendants that developed and refined these notions into the Togakure ryu of ninjutsu, and came to be called by the name ninja.
The Togakure-ryu's secret was the shuko, a spiked iron band worn around the hand, enabling the ninja to stop sword blades or climb trees and walls like a cat. Another device utilised by the Tokakure ninja was the tetsubishi, a small spiked weapon used to slow pursuers or protect doorways. Made with spikes sticking out in all directions, the tetsubishi were scattered on the ground to be stepped on by the unsuspecting.
They also used and kept secret the use of the senban shuriken or four pointed throwing star, originally made from a metal building washer, it looked so innocuous as to be ignored by samurai soldiers. Most important to our training today is the Togakure ryu ninpo taijutsu, or unarmed methods of moving the body with subtle rather than forceful movements which controls the actions of the attacker and allows the ninja to win whilst expending minimum energy and exposure to the least amount of danger.
2. GYOKKO RYU KOSHIJUTSU
Said to be the oldest fighting system used by ninja, the Gyokko Ryu is developed from an older fighting system brought over from China and integrated with the Japanese systems of the time. Legend tells of its founder Yo Gyokko using this koshijutsu (the attacking of nerve centres with pinching or striking finger drives) system to defeat several tens of warrior monks lead by an old man of strange appearance who wanted Yo dead because of his reputation in defeating challengers. He killed over fourteen monks and defeated the old man even after being struck on the head by a sword which bounced off, as his head was so hard. Later after killing a lion with one one fist he became known as Koto-ou (lion battling king).
3. KOTO RYU KOPPOJUTSU
Translated as the Chinese Hand skill of Tiger attack this ryu teaches us the koppojutsu or bone breaking methods employed in ninjutsu.
The Kuden (oral tradition) at Koto Ryu say that a monk named Chan Busho travelled from Korea to Japan bringing with him the concept of Koppojutsu - the study of bone breaking and weak points. The system was passed from master to student until it passed to Momochi Sandayu. It stayed in his family until 1624 when it passed to the Toda family, Toda Shinryuken passed it to Takamatsu Toshitsugu his grandson. Takamatsu passed it on to Hatsumi Masaaki which brings us to the present day.
Momochi Sandayu's famous student Ishitrawa Goemon became known as a Japanese Robinhood. He also attempted to kill the famed leader Hideyoshi, but with no success.
4. KUKI SHINDEN RYU HAPPO HIKEN
As the 26th Grandmaster of Kuki Shinden ryu Happo Hiken (secret weapon arts) Takakage Matsutaro Ishitani taught Toshitsugu Takamatsu the eight part Happo method which included: Taijutsu (unarmed combat), Hichojutsu (leaping), Mawanage (rope throwing), Koppojutsu (bone smashing technique), Jutaijutsu (grappling), Yarijutsu (spear technique), Naginatajutsu (halberd skills), Bojutsu (long staff fighting), Jojutsu (cane technique), Hanbojutsu (stick fighting), Seban Nage (shuriken throwing), Tokenjutsu (blade throwing), Kojutsu (fire and explosives), Suikutsu (water techniques), Chiku Jo Gunryaku Heiho (military tactics and fortress design and penetration), Onshinjutsu (art of invisibility), and Hensojutso (disguise).
He then taught the Hiken or secret sword methods of the ryu. All of these methods are said to have been developed in the mountains of Kumano by shugenja warrior monks who first of all developed the use of their shakujo ringed staff to defend themselves.
5. KUMOGAKURE RYU NINJUTSU
With its own unique Taijutsu methods this ryu teaches us many leaping tactics and also the use of the kamayari or hooked spear said to have been used by pirates on the Japanese inland sea, specialising in field craft and espionage.
6. GIKAN RYU KOPPOJUTSU
Founded by Uryu Hangan Gikanbo in 1558, this ryu was based on the Chinese style of Cho Gyoko. It contains many special kicks, punches and throws. One of the original teachings is "Ni Sente Nashi" (From this side there is not the first strike). During the battle of Tenchi Gumi No Ran August 17th 1863, the tenth grandmaster who was also named Yryu Gikanbo was shot and although he continued to fight with only one arm had eventually to retire after been cut many times. He was found by Matsutaro Ishitani, who was himself on the way to the battle. Ishitani helped Gikanbo recover in the mountains of Iga. In return for this act he was trained in the secrets of Gikan Ryu.
7. SHINDEN FUDO RYU DAKENTAIJUTSU
As the grandmaster of this ryu Shinryuken Masamitsu Toda taught the arts of striking and kicking to his grandson Toshitsugu Takamatsu. This ryu teaches the art of defeating a strong person by feigning weakness.
8. GYOKIJSHIN RYU NINPO
This ryu teaches many of the secret philosophies and tactics of our art.
9. TAKAGI YOSHIN RYU JUTAIJUTSU
Said to have been founded by a monk named Un-Ryu (Cloud Dragon) this ryu has close links with Kuki Shinden ryu after a contest between the two schools took place in 1672. It was realised that the Kukishinden Ryu was superior in the stick fighting arts, but that the unarmed combat techniques of the Takagi Toshin Ryu was in its own turn superior. So the schools adopted techniques from each other to improve the quality for future generations. Takakage Matsutaro Ishitani was also a soke of this ryu and it is through Takamatsu Sensei and Hatsumi Sensei that many of the throwing and locking tactics are handed down.
Most of the other remaining ninjutsu schools were wiped out by Oda Nobunaaga in 1591 when the men, women and children of the Iga mountains were slaughtered by a force out numbering them 10 to one. Of those few families to survive all forgot or put aside their training in the many years of peace that followed. Leaving Masaaki Hatsumi as the only surviving grandmaster. The only person acknowledged as an authentic soke in ninjutsu by the Japanese authorities.
Origin of Ninjutsu: Japan
Ninjutsu founded: Around 900 years ago
Popularised by: Dr Masaaki Hatsumi, 34th grandmaster of Togakure Ryu Ninjutsu and Stephen Hayes

Weapon style: Kali Sticks (almost equal to Escrima, but simple escrima in MK is ment for unarmed combat)
Eskrima or Escrima refers to Filipino, stick-based martial arts. The term is mostly used in the Visayas region.
There are basically no differences between Arnis, Eskrima and Kali. The general martial arts community uses the different names to refer to the same type of arts. Originally, the difference in the name implied the region from which the art originated. These three names, and others, refer to martial arts where skills in both empty hand and weapons are developed using similar training methods to teach both. Practitioners of these arts are noted for their ability to fight with weapons or empty hands interchangeably.
Eskrima sticks are hard sticks usually made from a hard wood such as rattan that is burned and hardened. They can also be made out of metals such as aluminum or can be padded for training purposes. They are usually between 45 and 70 cm long and can be a variety of widths.
Eskrima and Arnis are the names primarily used in the Philippines today. The name Kali is seldom used except for a few areas in the Southern Philippines, but has seen revival due to the teachings of modern masters such as Dan Inosanto and Cass Magda. Eskrima is the Filipino spelling which comes from Spanish-language esgrima, "fencing".
Kali, Escrima, and Arnis are all terms for the native fighting arts of the Philippines, specifically the arts that use weapons.
Arnis is a Northern Term, Escrima more Central, and Kali is from the South. In this view, the terms just refer to indigenous weapons fighting systems. Arnis would be the term used in Northern Luzon, Escrima from Manila through the central islands, and Kali on Mindanao. People who use this definition tend to say that the words don't matter - every village, and often every master, has a distinct style, and that's what the important thing is - "do you study Illustrisimo, Caballero, or Cabales style?" Not "do you study escrima or kali?"
Kali is an older art than Escrima or Arnis, and more comprehensive. Escrima and Arnis were developed as streamlined, simplified ways to teach people to fight the Spanish invaders. Hence, Kali is more of a "warrior's art" while Escrima and Arnis are "soldier's arts". Kali is usually considered to have 12 areas of combat, with Escrima containing 8 or 9 of them, and Arnis 4 to 6.
Filipino styles normally classify attacks not by their weapon, or their delivery style, but by the direction of their energy – for example, a strike to the head is usually analyzed in terms of "a high lateral strike." A punch to the gut is treated much the same as a straight knife thrust to that region would be. Students learn how to deal with the energy of the attack, and then apply that knowledge to the slight variations that come with different lengths and types of weapons.
Filipino arts place great emphasis on footwork, mobility, and body positioning. The same concepts (of angles of attack, deflections, traps, passes, etc.) are applied to similar situations at different ranges, making the understanding of ranges and how to bridge them very important. The Filipinos make extensive use of geometric shapes, superimposing them on a combat situation, and movement patterns, to teach fighters to use their position and their movement to best advantage. Some styles emphasize line-cutting (a la Wing Chun), while some are very circular (like Aikido). Some like to stay at long range, some will move inside as soon as possible. These differences are hotly debated, as are most things, but they all work differently for different people.
Most Filipino arts, but Kali in particular, stress the importance of disarming an opponent in combat. This is not usually done gently, but by destroying an attacking weapon (break the hand, and the stick will fall.)

keep wishing. Say what should I post next: Professional wrestling or Gre-co-Roman Pancratión along with the other styles you guys asked?

Know anything on the Sai, Lui He Ba Fa, Yuan Yang or Ba Gua?
Btw,I think Raiden might have used Tae Kwon Do in past Mks but I'm not sure. And in MKA (movie) it looks like Mileena is using escrima but I can't be sure.
But this is some really nice info. great work

Fighting style: BaGua (Pa Kua Chang)
Used by: Kitana
USed when: MK Deadly Alliance
Many legends tell of the effectiveness of ba gua chang as a fighting art. These legends include the numerous martial exploits of Tung Hai Chuan and his students. Despite Tung’s vagueness regarding the origins of his ba gua chang, the art quickly gained a reputation throughout China for great martial effectiveness. One indication of this effectiveness is found in the fact that when the Dowager Empress Tzu Hsi fled Beijing after the collapse of China’s Boxer Rebellion in 1908, she was protected by a single bodyguard—Tung’s senior disciple, Yin Fu.
There is virtually no other martial art system or style, internal or external, that has combined and seamlessly integrated the whole pantheon of martial art fighting techniques in one package as effectively as ba gua. In ba gua, you can hit a person with an open hand, a fist, or a push. You can hit with your hand, your head, your shoulder, or any other part of your body. You can punch straight ahead, in a round fashion, or from every conceivable angle. You can also throw individuals without grabbing their bodies by tripping them through careful placement of your foot or by breaking their balance while controlling their arms or hands. You can use foot sweeps and leg cuts. In addition, you can lift an attacking man over your head and throw him on his back or on his face or his head. There are also chokes and joint-locks or chin na techniques as well as grabbing techniques in which you seize your attacker’s skin and try to rip it off his body. Ba gua also has a range of kicks both high and low, knee butts, and stomping techniques, and a full arsenal of traditional weapons.
Fighting Eight Opponents Simultaneously
Ba gua was designed to fight up to eight opponents at once. This design is based on the inability of more than eight people to attack one person simultaneously without getting in each other’s way (unless armed with long spears). When facing multiple opponents, the ba gua fighter flows through the group of attackers, constantly twisting, turning, and changing direction. From a defensive point of view, this minimizes the need to block attacks, since you are a continuously moving target that is no longer at the original location when the blow arrives. Never remaining in one spot for more than a fraction of a second, the ba gua chang fighter intends to disable, or at least bypass, one opponent and continue on to the next before the first attacker is replaced. This efficiency can only be achieved through deception and exploitation of angles of attack that most other martial arts do not utilize.
As a ba gua practitioner dealing with multiple attackers, your concentration on a single person should only be momentary as your focus immediately shifts to the next. This avoids being hit from behind, which easily happens if you spend more than an instant dealing with one member of the group. Thus, even when facing a single opponent, your perspective should always be toward multiple opponents.
The training for fighting multiple opponents simultaneously starts with the practitioner facing a single person. Then, as training progresses, opponents are added one at a time. To develop fighting prowess, ba gua people consider it necessary to practice fighting applications with real human beings, who are basically unpredictable during fighting. However, solo form work and Walking the Circle is the foundation of the training and the source of your energy, body coordination, and the freeing of your spirit to move spontaneously and to respond to attacks.
The movements practiced in the ba gua forms are the exact ones applied in combat. Many martial arts have hundreds of moves, but when it comes down to empty-hand fighting, they usually use only a couple, with the rest only serving to develop physical coordination. Every movement in ba gua has practical and usable fighting applications. In the traditional schools of ba gua, a wide range of applications are taught to people to make their body/minds more agile and adaptable to unexpected martial changes, rather than only to accumulate an inventory of specific techniques to respond to specific defenses or attacks.

Chrome,I did some searching on the net for Ying Yeung and I got Yin Yeung.It was a form or kata of choy Lee Fut.It meant Continuous Double Kick Something.Anyway,I tried to translate the chinese symbols(the site was in Chinese)but it said that Yin Yeung was Yuan Yang,which I know.So,I went deeper.Yeung isn't in the Chinese language.It is actually Cantonese.Yeung is Yang in cantonese.Ying in cantonese has a LOT of meanings but the one that stood out was "eagle".Yang has a lot of meanings too but one of them was "way".So,I'm guessing that Ying Yeung means "way of the eagle".As for Yue Chuan,the closest thing I've found was Yuejia Chuan(Yue family chuan)and that may be it.Chrome I could help you out with some of these styles because I am a martial artist(a master of 9 different ones.)And if I don't practice it one of my brothers or sisters practices it.

Style: Yuan Yang
Used by: Frost
Used when: MK Deadly Alliance
Yuan Yang: Yuan Yang Quan, or Mandarin Duck Fist, is an art
rarely seen outside of China and as such, information is scarce.
Although there is little available material on the Mandarin Duck
style as a whole, there are a number of references to the kicking
methods it employs. A number of other Chinese styles adopted
"Mandarin Duck Legs" of this style as they were reputed to be
very effective.
More will come on this eventually, and there is also a Mandarin Duck Axe weapon avaiailable in the chinese martial arts. just notify me, when you will need this style in an urgent manner.

Thank you, again cobra, however only the half of it is true. There IS but a minor difference in both styles. mandarin Duck (yuan yang) is based on mainly kicking, and Yin Yeung is more incorporated into Choy Lee Fut i gu-ess.There is also a phrase about duality, but i simply cant make it out.
YuanYang is also incorporated in mantis style boxing. One of theese sects is YuanYang tang lang (tang lang is a mantis style) it is a non spread style of the tanglang mantis style, as like Frosts other style, Tong Bei tang lang , which means Connected arms praying mantis.
Oh, sorry..this is very-very confusing folks. Damn that Google, Im seeing chinese everywhere. : ) Anyway, more will come about theese styles I swear.

Chroome,I never said that Yuan Yang and Ying Yeung were the same.Anyway,I found info on Yue Chuan and I found the name of the form that has Ying Yeung in it.Do you want them?

Send it to me, or paste it into a message, or an answer for the thread.
Sorry about that, i just kinda enervated becouse all the yins and yuans and quans and that kin of chinese phrases. man, how do they live with so many words meaning so many things? or worse, how would a chinese writing machine look like?
Send it! And by the way, about what style should we talk about later?

Okay,here it is.The form in Choy Lee Fut that mentions Yin Yeung is Yin Yeung Twei Lin Wan or Continuous Dual kicking form.I'll do some more research on it.
Here's the info on Yue Chuan.
There are many styles of Chuan named after General Yue Fei of the Southern Song Dynasty (1127-1279) These include Yue-family Chuan of Hubei, Henan and Anhui provinces, Yue-school fist plays of Hunan and Sichuan provinces, Yue-family martial arts of Guangdong Province, Yue Fei Sanshau and Yue-style chain of fist plays. These different Chuan styles have been influenced by local culture and practices as well as individual styles. Although it has combined the old and new Chuan theories and practices, the Yue-family Chuan is based primarily upon the principles of combining inner and outer bodies, theory and application. Its various tricks stem from its principal philosophy of the positive and negative and the five elements of the heart, liver, lung, spleen and kidney in the human body.
Investigation has found that the Yue-family Chuan practised in Huangmei County of Hubei Province is simple and uncomplicated and has a close relationship with the Yue family. It is believed to have been created by General Yue Fei and passed down by his sons, Yue Zhen and Yue Ting, and his subordinates. They taught the arts of Yue-family Chuan in Huangmei, Guangji, Qichun in Hubei as well as the southeastern part of the province. This style of Chuan has been practised by 20 generations over about 800 years. It is recorded that General Yue Fei had been to Huangmei twice, and Yue Zhen accompanied his father and stayed in Huangmei. After Yue Fei was framed and secretly killed by treacherous officials of the Imperial Court, Yue Ting went to join Yue Zhen in Huangmei. The Yue's practised the Chuan and trained their army men in an attempt to avenge their father's death until the Song Dynasty perished. However, the Yue-family Chuan was passed down from generation to generation.
The Yue-family Chuan now practised in Henan Province is said to have been passed on by a person named Fan from Tangyin in Henan, who followed Yue Fei in his expedition against invaders from the Jin Dynasty in the north. When Fan returned to his native town, he taught the Yue-family Chuan and weapon plays to his offspring, including Fan Ju who mastered the arts and continued to pass them down.
In Anhui, the Yue-family Chuan is called King Yue Chuan. Fang Yinglong, a native of Shandong Province, learned the basics from his grandfather and then followed Ji Qingshe to learn the Yue-style hammer play. Fang served as a martial arts instructor in the army of warlord, Feng Yuxiang. Before the establishment of the People's Republic of China, he went to Bengbu to teach the Yue-style hammer Chuan. Some of Fang's disciples were also found in Guangxi.
There are two theories about the evolution of the Yue-family Chuan in Sichuan Province. One is that Zhang Tianhu of Hebei taught the Yue-family Chuan in Sichuan in the middle of the Qing Dynasty while Tao Rujie of Shuangliu County taught the arts in Chengdu and other places. The other says that Wu Daoren of Hubei Province passed it on to Sichuan in the late years of the Qing Dynasty.
In Emperor Daoguang's reign (1821-1850) of the Qing Dynasty, martial arts instructor Liu Shijun of Hebei taught a nine-move Yue-style fist play in the barracks of Beijing garrison. His disciple Liu Dekuan developed the style to make it an easy-to-learn, well-linked style of unarmed play. Thus it is called Yue-style linked Chuan.
According to the remnants of the manuscripts of Yue-Family Chuan by Huang Chunlou, this style of Chuan was spread to Guangdong Province when Huang taught it in Meixian County in the late years of the Qing Dynasty. Because most local people referred to it as "discipline," this style of the Yue-family Chuan came to be called the Yue-family discipline.
The Yue-family Chuan features simplicity and steadiness. Its tricks are clear and clear-cut. When delivering blows, boxers articulate sounds to help generate power. This style of Chuan combines breathing and mentality to make fist blows powerful and complete. It resorts more to fist plays than to feet plays and does not lift the knees, nor does it wield elbows away from the body (Fig. 22).
The Henan-style Yue-family Chuan requires low stances and closed knees. When generation power, boxers jerk elbows and turn shoulder to pass energy to the fists.

You're right about the Chinese words.They all have different symbols but they have the same spelling.Take Yue for example.It has 20 meanings!:-o
I don't know how they remember it all.Anyway,I'd like to see Fan Zi,Kuo Shou,Zi Ran Men,Mian Chuan,Tong Bei,and Lui He Ba Fa.I could get you some information on Zi Ran Men,Fan Zi,Tong Bei, and Mian Chuan.It's Kuo Shou and Lui He Ba Fa that I don't know.

Fighting style: Liu Ho Ba Fa/Lui ho Pa Fa
Used by: Li Mei
Used when: MK Deadly Alliance, MK Deception
Lui Ho Ba Fa
Chen Tuan, a native of Po-chou in Anhui, is a famous Taoist who lived on Mount Hua, one of the five sacred mountains of China in Shensi, during the Later Choi and Sung Dynasty (960-1280) A.D. He is credited with the creation of the kung fu system - Liu Ho Pa Fa - six harmonies and eight methods. Along with this internal art, is a method of chi (energy) cultivation known today as Tai Chi ruler, a 24 section method (erh shigh ssu shih tao yin fa) seated and standing exercises designed to prevent diseases that occur during seasonal change.
Chen Tuan at a very early age demonstrated a great ability at mathematics and interpretation of the Book of Changes and poetry, so much that at age of 15 years, scholars would pay their respect to this young prodigy. His destiny as a high official of the Imperial court however, was cut short upon his failure at the state examination. This event turned the young scholar to forsake the lofty ambition of mankind and decided to retire his life as a hermit upon the scenic mountains of China.
After several years, he was advised by another Taoist master to go to the Rock of Nine rooms on Wu Tang mountain, to cultivate his skills. There he perfected his skills in Chi Kung and the art of hibernation. Although Chen remained a hermit, his reputation as an able scholar made him sought after by the royal court. Because of this reputation, the emperor Shh Tsung of the Chou Dynasty suspected that Chen had his eyes on the kingdom and had him incarcerated for one hundred days. After several months the emperor inquired on the condition of the Taoist master, only to have the guard report that he was fast asleep. Only then did the king realize that Chen had no desire for power or fame and released the sage.
It was during one of his visits with the second emperor of the Sung Dynasty, Sung Tai Tzuu (960-975), that Chen Tuan was given the title (Chen Hsi I), meaning "rare among men" also seasoned boxer, stating his skill in kung fu. Although the Taoist master was concerned with the welfare of the people, his desire was to live peacefully at his mountain retreat. Oddly enough, it was a a game of chess (wei chi) with the emperor that would decide if he would stay to advise him or return to being a recluse on Mount Hua. After winning the game, he returned to the mount where he taught Taoist yoga and exercises.
Chen Hsi I is also in Taoist succession in the (Yin Hsien Pai) (sec; of the hidden immortals) who passed Lao Tzu Taoism down through time and also taught on Mount Wu Tang. He is said to have been the teacher of Huo Lung, who was the teacher of the Chang San Feng, legendary founder of Tai Chi. This is why some scholars have placed him in the Sung Yuan Ming Dynasty. Recently a statue of Chen could be seen at the Jade Source Monastery (Yu Chang Yuian) located at the foot of Mount Hua. Chen Hsi I continued passing on his teaching and elucidation of the I Ching (Book of Changes). The modern interpretations are based on his art passed on to (Lee Tung Fung), who passed his skills on to the masters below.
The complete system consists of six hand forms, The Twelve Animal form, Eight Linking Palms Six Harmonies Eight Methods Fist, Dragon and Tiger Fighting, Coiled Dragon Fist and Coiled Dragon Swimming.
The Twelve Animal forms are a set of twelve short forms that build the necessary foundation need to practice the remaining forms. Each set was developed in characteristics associated with each animal. These forms develop the basic body movement and proper breathing necessary to complete the more complex techniques found in the remaining forms.
The main form (Six Harmonies Eight methods Fist) contains some seven hundred different techniques alone. It is in essence contain all of the movements of the other forms, but in for instance in the Dragon and Tiger Fighting form, contain a more in dept extrapolation of the chin na skills found in the main form.

Oh by the way Cobra, Kuo Shou is a crater on the moons surface... :)
If you could look after its full name or other names this style was given, I looked after San Shou (chinese grapling and fighting mixtured with mongo-lian wrestling)
anyway moer will come very-very soon...

The death touch martial art sounds interesting.. Sounds like yubijutsu to me... is there a dif??
IO would like to know more bout the trainin methods of japanese ninjas. Dp they really tie their arms to trees and hang there for hours to build strength and endurance? Do they really run with a thrity foot ribbon tied to their ankels kept off the ground at all timeS?? Are there any more subtle forms of martial art. I heard bout some martial arts which allow the user to bear extreme conditions and to be able to read others' minds through expressions and such. I cant rem what its called. shinren or somethin

well, I think it is just basic empathy. However i will look into the ninja training methods for you, given time. And Dim Mak is chinese (Northen China I think) but similar m.arts have been developed in other countries as well.