I train in Dim-Mak.It's not that much different from Yubijutsu except that one is Chinese and the other is Japanese.Yubijutsu uses fists though right?Dim-Mak uses the snake tounge,phoenix eye,turtle mouth,cobra's head and other strikes that have pinpoint accuracy.Dim-Mak uses the meridians of the body.Each meridian has a series of fatal points.If you hit one of them,something happens whether it be death(hence the name "death touch"),paralysis or some other problem.Anyway,Chrome,my sister practices Kuoshu.Is that the same thing as Kuo Shou?"Cause it seems very similar.

Might be. Chinese martial art names are often linked together, creating a new word. Huachuan- equals maybe of Hwa Chuan and so on. Oh, by they way, post me some material here on Dim Mak.
What styles would you like to see here besides the traditional ones -by the way?

Very interesting thread. I would like to point out a lot of things though.
The existence of Bodhidharma /Da Mo/Daruma Daishi is a very controversal topic. He is said to have been the founder of Dhyana (Chan in Chinese, Zen in Japanese, Seon in Korean) Buddhism by a combination of Mahayana Buddhist and Taoist (Daoist) beliefs.. He is also credited for creating certain exercises and teaching them to the Shaolin monks, especially the Shi Pa Lohan Shou (18 Arhat Hands) which is said to be the basis of Shaolin martial arts. It was said to help the monks get into shape and help focus on their meditation but it also contained several martial arts techniques originating from India, most likely from either Vajramushti (Diamond or Thunderbolt Fist) or one of its offsprings known as Kalaripayat (way of the battlefield). Interestingly enough, there is a Chinese internal martial arts in the Shaolin system known as Jingang Quan which means "Diamond Fist". I wonder if it is connected to Vajramushti...hmmm...anyway....Bodhidharma's arrival wasn't 520 BCE. The Shaolin temple wasn't built until the 4th or 5th century CE.
The Shaolin temple in Honan was founded by an Indian Buddhist monk named Ba Tuo and he brought a very restrictive form of Buddhism to China and there weren't many followers. His time as head of the Shaolin temple was short lived but he had two of his disciples to take his place. The disciples were former generals.
The term Kenpo/Kempo means Fist Law and there are various types of Kempo. Kempo influenced both Okinawa and Japan. In Japan, Shaolin Fist was introduced and the Japanese in different regions of Japan, adapting Shaolin Fist in different types of areas and climates thus creating many variations of it. There were temples in Japan in which monks practiced an art called Jikempo which means Temple Fist Law. In Japan, Shaolin Fist (Shaolinssu Chuan-Fa) was known as Shorinji Kempo. The more modern Shorinji Kempo style is basically like a combination of Shaolin Kung Fu styles with Jujutsu.
The Kenpo style used in MK: DA Sonya and used by Kira in MK: D is the western art and combines Chinese, Okinawan, and Japanese martial arts techniques.
As for Kodokan Judo, Dr. Jigoro Kano got the name Kodokan from a Shinto temple. If I'm not mistaken, there was already a martial art called Judo, but Jigoro felt that the name Judo best fit his style. Judo techniques highly consist of throws, takedowns, ground fighting, and submission holds, but in advanced levels of Judo, there are certain strikes used. These strikes were taught to Jigoro Kano by his friend Gichin Funakoshi, the founder of Shotokan Karate.
Now, onto Ninjutsu......
Ninjutsu means "the art/method of stealth and espionage". This was used by the Ninja (Stealth warrior(s)). In ancient and feudal Japan, the term Ninja didn't exist when identifying them. There have been many types of Ninja in Japan's history. Some were monks, farmers, peasants, and some Ninja were even of Samurai status. There were also some Ninja who lost their Samurai status like Daisuke Nishina (sp?) who later adopted the name Togakure. Judo didn't exist until around 1883 unless you are talking about another kind of Judo. Even so, I doubt the Ninja used that. As for Jujutsu, well, some most likely did, especially ones who were also Samurai or used to be Samurai.
Ninjutsu was developed in the Koga and Iga regions alright. The earliest of Ninja in Japan were like the outcasts. However, there is said to have been a style of Ninjutsu known as Fuma Ryu and according to some, it's the earliest of Ninjutsu styles and can be traced back to the Lin Kuei of China. However, this is still in great speculation. There is someone named Fuma Kotaro who is said to have been the 5th generation Jonin of the Fuma ninjas.
Anyway, yeah, the arts such as Koshijutsu and Koppojutsu are arts from the Iga region and were used by the Ninja and the Samurai.
Togakure Ryu Ninpo Taijutsu was influenced by Hakuun Ryu Ninjutsu in terms of techniques. Hakuun Ryu is now extinct. There is said to have been 73 styles of Ninjutsu in history. The techniques in Kumogakure Ryu Ninpo are influenced by Togakure Ryu.
Gyokushin Ryu is rarely taught though I think that Jigoro Kano taught Gyokushin Ryu. It's techniques are said to be influenced by Gyokko Ryu Koshijutsu.
Anyway, I'll come back later with a lot more....

We are honored Sub Zero the 7., and we would love to see more of your stuff right here! Yes, the post you wrote contained most of what we should know, occasionaly only only one errror occured: ninjitsu also means "sub-terranean art of combat", wich, in this meaning translates to the more precisely defined "combat art hidden from daylight "-this is becouse the words in japanese may translate over to a hundreds of meanings.
thanks anyway, hope we see you here real soon.
and now an unused style in Mortal Kombat: Dayto-Ryu Karate
Daito-Ryu can be traced all the way back to Senwa Tenno who is considered by many to be the very first in the Daito Ryu line. The techniques were basically the combat methods of the Minamoto clan that had been refined and perfected by General Yoshimitsu. The General is known to have studied the cadavers of criminals to understand human anatomy. The techniques of General Yoshimitsu were passed down and then combined with the Aizu techniques to become what is now known as Daito Ryu.
The origin of Daito-Ryu starts with Soemon Takeda(1758-1853). Soemon Takeda taught a system called aiki-in-ho-yo, "the aiki system of yin and yang," which he passed on to Tanomo Saigo. Saigo also had training in Misoguchi-Ryu swordsmanship and Koshu-ryu military science.
Tanomo participated in the Boshin war. Certain that Tanomo had been killed in a battle with the Imperial forces and determined to preserve the honor of the family name, his mother, wife, 5 daughters, and other members of his family committed ritual suicide. However, Tanomo's life had been spaired. Tanomo then changed his name to Hoshina and served as a Shinto priest in various districts and later adopted Shiro Shida as his disciple-son. Shiro was extremely talented and mastered the Ryu's many techniques, later applying them with great success during the foundation of Jigoro Kano's Kodokan school of Judo. However, Shiro abandoned the practice of both systems, moved to Nagasakai and devoted himself to classical archery the rest of his life.
Tanomo had another heir to the Daito-Ryu, Sokaku Takeda(1860-1943), Soemon's grandson. Sokaku was no novice to the martial arts. At an early age he had obtained teaching licenses in Ono-ha Itto-Ryu swordsmanship and Hozion spear-fighting. Sokaku had also studied with the swordsman-saint Kenkichi Sakakibara of the Jikishin-kage-ryu.
Sokaku traveled widely, attracting a large number of students; he was reputed to have around thirty thousand students and nearly every budoka of note in that era was his student in one way or the other. One of these was his manservant Tatujutu Yoshida (Choi Yong Sool).
As mentioned above Choi Yong Sool studied Daito-Ryu Aiki Jutsu with Sokaku Takeda. Exactly how much training Choi received and in what manner is a mystery to this date. There are those that would have you believe that Choi became the adopted son of Takeda. However anyone understanding the Japanese of the time would know better. The Japanese considered themselves to be a divine race. The Koreans were beneath them. While it is possible that Choi became endeared to Takeda it is highly unlikely that he was adopted. Choi started life with Sokaku Takeda as his houseboy and later became his manservant. It is because of this position he was always on hand at training sessions. It is known that Sokaku Takeda sent Choi to defeat challengers. This was a very shrewd move on Takeda's part. If the challenger was defeated he was defeated by the manservant of Takeda and on top of that a Korean. Takeda usually overcame objections by his higher ranking students by saying the following "Who has been with me longer than my manservant Yoshida (Choi)?" After Sokaku Takeda died Choi left the service of the Takeda Clan and returned to Korea.

what about "Dragon?"
just kidding... great thread!!

I'd like to hear about the Mandarin Duck Axe weapon
BTW, kick ass thread!

Fighting Style: Baranta
Baranta:
This martial art involves both armed and unarmed techniques and is based on the martial training forms of the old Hungarians, who lived between the IX. and the XX. Century. In addition to the motion culture of the Carpathian-basin, the martial methods applied by folks, who established similar social communities to those of the Hungarians (schytians, avars, türks onugors, kazaks) and who once lived along the assumed wandering route of the ancient Hungarians, also play a significant role.
Foreign monarchs (primarily the Habsburg dynasty) played a major role in the devolution of the motion culture and techniques of Baranta with their prohibitive and restrictive laws on wrestling, brawling, fencing, archery and horse riding. Thus Baranta could only survive in martial dances, in the lifestyle of Hungarian shepherds, in fencing books, and on artistic representations.
Baranta stems from those members of the Hungarian society, who lived in the initial times of Hungarian history and who had a liberal legal state, which came with the privilege and at the same time with the duty to fight. This fighter layer of the society mastered the military profession and applied specific training systems and tactical principles and is the premise of the fighting (noble) orders and groups, who were presents in Hungarian history for centuries.
I have more, but it takes time to translate from hungarian to english.
In Google type in: harcmûvészet, youll find several links with both english and hungarian language.

Fighting style: Hwa Rang Do
Hand to-hand combat is as old as the human race, and the different fighting styles that prevailed in different regions of the world took generations to evolve. Each individual country developed different combat skills in order to protect their country and their people. The evolution of the Korean combat skills began about 5000 years ago when KoChoSun was established. KoChoSun was a country that started on the Korean peninsula. This country established a strong military warriorship tradition, and their territory spread. Their territory spanned far from the original peninsula, and eventually included all of Manchuria and all most half of China.
The roots of what is now known by the modern martial art name Hwa Rang Do "The way of the Flowering Manhood" or "The art of the Flower Knights," which was founded by Dr. Joo Bang Lee, originated from the combat skills of the Hwarang (Hwarang and Rangdo) system of the ancient Silla kingdom of Korea. These secret combat skills, which were called Um Yang Kwon, have survived the passage of time, and have been passed for 58 continuous generations.
Before we continue with this martial art history, it is important that we clear any public misunderstandings. In the modern time there have been some ignorant martial art historians that have produced mistaken accounts of history. Along with these historians, there are a number of people throughout the martial art community that have also made false claims about their own martial art and its relationship with the ancient Hwarang system.
These practitioners claim that the roots of their arts came from the ancient Hwarang, even when they have an inadequate understanding of the history of the Hwarang. These types of claims, which are also combined with inaccurate historical references, have been lies and have also caused a great deal of confusion within the public. So before we proceed further, it is imperative that you have an understanding of the terms and vocabulary associated with the ancient kingdom of Silla's Hwarang warrior system and the martial art identity Hwa Rang Do®.
Hwa Rang Do® - The martial art name: "The way of the flowering manhood." This is the name of the martial art identity that was founded in 1960 by Dr. Joo Bang Lee. He is the one who created the syllabus of this martial art for public instruction. He combined the spirit and philosophy of the ancient Hwarang warriors with the ancient secret Hwarang combat skills Um Yang Kwon that were passed to Dr. Lee from his master Suahm Dosa.
Hwarang - "Flower man" The title given to the leaders of the youth group from the ancient kingdom of Silla. This title was only received by the youth of royal family members, and not civilians.
Rangdo -"Fellows" The title of the Hwarang's fellows. These people were the students disciples, and soldiers of the Hwarang, and all came from the civilian class.
Hwarang (s) - (Hwarangdo ) - The term used to refer to the ancient Hwarang warriors. The Hwarang and Rangdo together were called the "Flower knights." In reference to these individuals as a group of people, the Hwarang (leaders) and Rangdo (fellows), two terms are used. Most references simply say Hwarang (s), but there are some later references that also use Hwarangdo . The "DO" suffix used here means a group of people. So the term pronounced Hwarangdo means a "group of flower men."
As you can see the martial art name Hwa Rang Do® (The Way of the Flowering Manhood) and the ancient Hwarang/Hwarangdo (Flower knights) youth group of Silla are different identities. They have the same Korean and English spellings, however their meanings are different. The "DO" term associated with the ancient Hwarang/Hwarangdo means a group of people. However, the "DO" term associated with the martial art Hwa Rang Do® means the "Way" or "Art." The Korean language uses hanja (the characters of the Chinese writing system) as wells as hangul (the Korean alphabet) to produce the written meanings of their language. This combination has created a circumstance where words that have the identical Korean pronunciations also have completely different meanings. For example the hangul word pronounced, "DO" "" in Korean has 45 different meanings associated to it because of this connection with the Chinese language. Another example of this is the hangul word "Mudo ." This word means martial (military) arts , another "Mudo " means inhumanity, and also another "Mudo " means dance. Even the word "Hwarang " has multiple meanings. One is Flower Man "", and the other is a picture gallery "Hwarang ". Because of these problems with translations, and the difficulties that surround the terms of these languages, we will show the hangul and hanja meanings with a phonetic spelling for an English equivalent. Another reason for this is the popularity of Hwa Rang Do® has risen throughout the world, and we need to show these details in order to correct the wrong understandings that have been caused by ignorant histories.
Claims About Connections to the Hwarang
There are many people who claim a connection to the Hwarang. Some of the common claims come from other martial arts and practitioners. There are claims that Korean Tae Kwon Do came from the Silla Hwarang. Other Tae Kwon Do practitioners say that their art came from the ancient Koguryo kingdom. Hapkido practitioners even make claims in connection to the Silla Hwarang, to Silla royal court martial skill techniques, as well as Kochosun roots. Claims have also arisen from some dishonored and ignorant Korean martial art practitioners. In the modern time there has been an explosion of dishonorable practitioners that have been expelled from their art, are betrayers, or are video tape "practitioners" who all never learn the basics of the honorable way of martial arts, and only copy fighting techniques. They make their own fake style name and lie to the public by coping our history. However, these dishonorable individuals do not know the way of martial art honor. They only make their own "monkey styles" and claim fake historical roots. These fakers even call themselves by a master or even Grandmaster title when nobody gave them that rank.
These claims have arisen based upon inaccurate historical accounts and on flat out lies. This is a very serious problem related to the history of all martial arts, and the history of the Hwarang and the martial art Hwa Rang Do® in particular. One of the biggest misconceptions is that the martial art Hwa Rang Do® existed 2000 years ago. This has happened because there have been some ignorant historians as well as ignorant martial art masters who have not understood the meaning of the terms listed above. They think that the ancient "Hwarang/Hwarangdo " (Hwarang and Rangdo) group of people is the same as the martial art identity "Hwa Rang Do® " founded by Dr. Joo Bang Lee in 1960. This has lead to confusion within the public about Hwa Rang Do® and the ancient Hwarang system. In addition to promoting the inaccuracies that have already occurred, there are many people who claim and copy the ancient kingdom of Silla's Hwarang history and use this as the history of their own martial art. This is not just a problem for the martial art Hwa Rang Do®, but it is also a problem for all other martial arts. The quality of the identity and integrity of our martial arts is our honor. As this quality diminishes, all martial arts' honor is destroyed and there is great public confusion. That is why we must know the truth of history and follow the tradition of our martial art that history has left us.
The historical problems related to the history of the ancient Hwarang and the martial art Hwa Rang Do® have occurred purposely as well as accidentally. Even the Encyclopedia Britanica has mistaken the identities of the Hwarang (flower man) and the martial art Hwa Rang Do® (The way of the flowering manhood). Before 1974, they translated Hwarang/Hwarangdo as, "Flower Knights." This is an accurate translation of the ancient Hwarang warriors. However, in their later editions they have changed their translation as, " The way of the Flowering Manhood." This is the translation that we first used for the martial art identity "Hwa Rang Do® ". As our martial art name gained popularity in the 70's they saw this translation, and took it from our source. Dr. Joo Bang Lee was the first one to use this English translation in the public. Please remember, the martial art Hwa Rang Do® "The Way of the Flowering Manhood" and the Hwarang "Flower Man" or the Hwarangdo "Flower Knights" system are different names and are related to different identities. The editorial officer of the World Hwa Rang Do® Association has contacted the Encyclopedia Britanica about this issue, and the said they will try to correct this for their next addition. Even so, this is an example of how mistaken historical references have been created, and whether it has been done intentionally or unintentionally it shows that historians must be totally thorough in their efforts. We also hope this explanation clears any misunderstandings from the public as well as in the martial art community regarding the ancient Silla Hwarang youth group and the marital art identity Hwa Rang Do®.
The Identity of the Hwarang Word
The word and the characters of the Hwarang are generic letters and they are not a martial art name. However, the word and the characters for the martial art Hwa Rang Do® are related to the name of a specific martial art identity founded by Dr. Joo Bang Lee. The importance of this relationship between a martial art and its name is connected to the total traditional identity of that present particular martial art instructional name. This means that the name of a martial art is the representation of a specific martial art instructional business identity, and cannot be used for any other martial art style's identification. This is like the names of the movie industry, Universal Studios® or Paramount Pictures®. The Hwarang words can be used in modern times by different business categories, like a Hwarang restaurant, a Hwarang soccer team, or a Hwarang store. But it cannot be used by any martial art instructional businesses because our martial art is internationally trademarked and we have the registered right to protect our name throughout the world.
This is our notice to the public that any other marital art businesses cannot use our name for their school names. Examples of illegal use of our identity's name are, Hwarang, Hwarangdo, Hwarang musool, Hwarang muyea, Hwarang mudo or in any combination with another martial art names such as Hwarang Tae Kwon Do, Hwarang Hapkido, etc. Also, our Hwa Rang Do® never gives permission to use an individual's personal name with our Hwa Rang Do® name. Using a personal name in conjunction with a martial art name is a denial of the same family of that martial art, and also makes it easy for these instructors to break away from their tradition. For example, companies do not use these types of personal names because all employees are working for the ideals and success of that company. That is why we do not have bracnches of these business identites that use names like Kim's Universal Studios or Mike's Paramount Pictures.
Because of this, the titles of our academies use the name of the city of the school added to Hwa Rang Do®. For example schools are called Hwa Rang Do® Academy of Madison, WI, or Hwa Rang Do® Academy of Arcata, CA. Similar to the names of our academies, all other countries use the name of their country as a chapter of the World Hwa Rang Do® Association. For example they would be called the Korean chapter of the World Hwa Rang Do® Association or the German chapter of the World Hwa Rang Do® Association. This way there is only one governing organization for Hwa Rang Do® throughout the entire world. This organization is controlled by the Hwa Rang Do® World Headquarters which is located in Do Joo Nim's living area. Some reasons for these polices is also because of the rise in disrespectful and dishonorable martial artists who have made their own kwan, won, organizations and as well as their own fake styles using the same techniques as their original system. These fake "creations" then go by the maiden name of these people (example: Kim's Hwa Rang Do® Association). The individuals who have done this were expelled or betrayed their original art, and are now only damaging and destroying their art's honor and identity. So we have this rule to protect our art from those who were expelled by breaking the rules of our tradition, as well as others who have damaged our strong sense of familyship, and who do not respect martial art loyalty. If you need any details about our rules and laws please check out our rules and bylaws.
The history of Hwa Rang Do® is very unique, and the introduction of its concepts and techniques to the public is the result of one man's vision. Our founder Dr. Joo Bang Lee is the one and only source of this system in the world, and without him nobody would know these skills. Nobody was even using the martial art name Hwa Rang Do® before him. Please keep this in mind as you read this history, because the tradition of this martial art follows the traditional ways of a martial art. This means that principles of human morality are extremely important to its practitioners. Principles such as honor, loyalty, respect, and duty are the integral components that create the quality and integrity of our martial art identity. That is why there is one governing organization in the world of our martial art, the World Hwa Rang Do® Association and the one Hwa Rang Do® World Headquarters. It is this organization and world headquarters that certifies all schools, masters, and instructors as well as creating policies that ensure our identity is not dishonored. An example of this, is the World Hwa Rang Do® association has registered an international trademark and copyright of our martial art Hwa Rang Do®, which means any aspect of our art cannot be used without permission. This includes our name, techniques, uniforms, concepts, etc. . . Another important act of this association is we post all certified schools, black sashes, instructors, masters, and their ranks on our web site. This way the public throughout the world can know if a claim about rank from a particular individual is earned and true. If someone makes the claim that they are a Hwa Rang Do® instructor and they are not on this listing or do not have our founder's certification, they are a faker and liar. So please check first, before you train. If you want to join our Hwa Rang Do® family please contact the Hwa Rang Do® World Headquarters and we will direct you to the best option for training in this art.
Historical Development and Influence Begins
The tradition of the Hwarang system has existed for over 2,000 years, and during this time it has developed into an incredibly influential force. The impact of the Hwarang system and people was strongly felt in the East Asian region in ancient times, and has also reverberated through time, leaving a lasting mark for us. The Korean combat skills originally began over 5,000 years ago with the formation of the Kochosun kingdom. In order to protect the people and their territory this kingdom began the development of a strong combative system. Later, over 2,000 years ago, the kingdom of Silla (BC 57) was formed and they began the development of their own warrior system.
This Hwarangdo system eventually spread to Japan and was very influential in the development of the Japanese Samurai system and Bushido (Korean-Musado, this is the moral mentality of the Hwarang and samurai). During this time much of the Japanese culture originated from the Korean kingdoms of Silla, Koguryo and Packche. Along with social customs, martial aspects were passed across the sea to Japan. So the counterpart of the Silla Hwarang was the Japanese Shogun, and the counterpart of the Silla Rangdo was the Japanese shogun's soldiers (their samurai). It is also thought that the family of the founder of Jujitsu was also connected to the Hwarang warriors. The name of this "Jujitsu " founder is "Shinna Sabro ", and the Korean pronunciation of his name is "Silla Samrang." There were many Koreans who moved to other countries, and because they still felt strong ties to their homeland they used this kingdom's name as their maiden name. The meaning of this founder's name is "Silla third man," so it is thought that this founder's ancestors came from the kingdom of "Silla ".
Japanese soft styles such as Judo (mostly a sport version of throwing and chocking), Daitoryu Yawara (same as Aiki Jujitsu - mostly throwing, joint manipulation, and grappling), and Aikido (mostly the use of an opponent's strength, and joint manipulation) were the same skills that evolved from Jujitsu. But, in Japan the Daitoryu yawara (Aiki Jujitsu) and Jujitsu name has been disbanded, and presently these branch schools are called Judo and Aikido schools. However, the Jujitsu that has become poular in present times is called Brazilian Jujitsu and is mostly focused on grappling and ground locks. All of these Japanese soft style skills share many similarities with the soft style "Yusool" skills of the ancient secret combat skills of the Hwarang which are called "Um Yang Kwon " (Yusool -soft skills and Kangsool -hard skills). Because of these many similarities and the meaning of the founder's name, it is thought that Jujitsu's roots lie in the Hwarang tradition of Korea.
Much of the influence of this Hwarang tradition is due to the arrival of King Chinhung (540 AD), who was also a Hwarang. The Hwarang system existed before King Chinhung, but he was the individual who greatly developed the power and strength of this system within his administration and military. After his arrival followed a long period of wars of expansion with the larger kingdom to the north, Koguryo. However, before the northern kingdoms were engaged, King Chinhung took on the task of driving out the Japanese colonies to the east, which were in alliance with the Yamato clan of Japan. Ten years later, King Chinhung turned his armies onto the fertile valleys of west and central Korea, between the Han and Imjin Rivers. This was the Pakche kingdom, and the conquest of the Han-Imjin river area brought great wealth to Silla through the acquisition of the richest agricultural lands in the peninsula, additional military service, and the labor of the peasantry. This conquest also opened an easier route to China through the capture of the ports on the Yellow Sea. Because of the Hwarang warriors of Silla, these three countries were unified for the first time.
Who were the Hwarang?
One of the most significant acts by King Chinhung was the development of the Hwarang system within his military service. This Hwarang system was organized by groups of youths who went to mountains, rivers and other places of natural beauty to learn to develop human morality, loyalty, and mental and emotional control along with their combat skills. Through this development of strong mental, physical and spiritual training they were taught to act as models of their culture and chivalrous warriors. They were Silla's elite warriors. They were called Hwarang (Flower Knights) and Rangdo (a Hwarang's disciple or soldier). These were young men who exemplified the warrior-intellectual that influenced the Silla kingdom's history for many centuries. A 13th century monk recorded that the Silla kingdom had "issued a decree and chose boys from good royal families who were of good morals and renamed them Hwarang (title of leader or General). Hwarang Sor Won was to be admitted as a Kuksun (Dae Jang Gun or head General). This was the beginning of the Hwarang (JanGun-General) and Rangdo (SaByoung -soldiers) special integration within the military system. During this time these warriors were called Hwarangdo (Hwarang and Rangdo group of people) which means the flowering knights and their warriors.
Besides religious instruction, the Hwarang were taught traditional dance and songs for their emotional development. Literature, the arts, and sciences were taught for their academic development. They were also taught the art of warfare, archery, combative skills etc. Their combat skills are based upon the concept of the unity of opposites embodied in the um-yang . Their empty-handed fighting techniques were known for their blending of the hard and soft, linear and circular attacks. A linear thrust punch could break through the wooden armor of an opponent and kill him instantly. They could also spin kick at such speeds that their enemies frequently thought that the feet of the Hwarang warriors were swords. Also they learned 108 different weapons within their curriculum.
The eighth century Silla historian, Kim Taemun, noted in his Hwarang chronicle. "Sagacious counselors and loyal ministers follow the Hwarang and Rangdo; they produce great generals and brave soldiers." The rank of Hwarang signified the position of a teacher of the their combat skills and he commanded 500 to 5,000 students, who were called Rangdo. A Kuksun possessed the rank of head general (Dae Jang Gun) in the army. The ferocious fighting spirit of the Hwarang warriors became legendary, and their exploits were recorded for posterity in Hwa Rang poetry and literature. The Hwarang narratives of the Silla dynasty became the basis of the classical novel that formed the backbone of Korean literature for a thousand years.
Examples of the Strong Moral Mentality of the Hwarang
One of the most famous stories eulogized by Hwarang literature is the martyrdom of the son of General P'umil, who died in the wars of unification. Kwan Chang was a Hwarang commander at the age of 16. He was captured during a battle with Paekche, one of the western kingdoms. Since his high ranking battle crest indicated he was the general's son, he was taken before the Paekche general. Lifting his war helmet, the Paekche general was taken aback at his youth. Thinking of his own young son, he decided against execution, which was the usual fate of the captured officers, and returned him to Silla lines. Kwan Chang went before his father and asked that he be sent back into battle at the head of his men. General P'umil agreed. He was captured after a day-long battle, but after he was disarmed, he broke loose from his guards, killing both of them by hand and attacked the Paekche general's second in command. A leaping, spin kick killed the commander as he sat on his horse, a full eight feet in the air. Finally subdued, he was taken before the Paekche general. Much distressed over the loss of his chief commander, he told Kwan Chang, "I gave you your life once because of your youth, but now you return to take the life of my best field commander." This time the Paekche general returned the boy's head attached to the saddle of his war horse. At the Silla line, General P'umil grasped his son's head and wiped off the blood with his sleeve. "My son's face is as when he was alive!" he shouted to his men. "He was able to die in the service of the king. There is nothing to regret." The General rode back into battle to complete the final defeat of Paekche. This was the famous Hwang San Bul battle and the story became legendary throughout Korean culture.
Heroic legends of the Hwarang warriors were preserved in many forms: dances, poetry and literature. They were told and retold from one generation to another and provided an example for the young of each generation to follow. The fighting spirit of the Silla warriors was so widely known that even the most powerful enemies hesitated to attack.
One of the most famous stories that illustrates the respect that the country of Tang (as China was known in this period) had for the people of Silla, is told about the young Hwarang general named Yoo Shin Kim. General Kim was 15 at the time he became a commander in the army. Some years later China and Silla were in an alliance in a war against Paekche. The Silla armies had engaged Paekche in a battle and defeated them. But the battle had taken several days and it caused the Silla commander, Moon Kyung Kim, to be late for a meeting with the Chinese general, who was the top commander in this temporary alliance.
The Hwarang commander and General Kim went before the Chinese General Jung Bang So to report the good news of their victory. But General So wanted to punish the Silla Commander for his disobedience and late arrival, so he ordered his execution! Suspecting treachery, that China's real intentions were to first take Paekche and then turn on Silla, General Kim spoke out angrily, "Are we your allies or your slaves?" Then in a burst of fury he exploded, "I will first fight with your army and then we will defeat Paekche." Kuksun Yoo Shin Kim's sword rose from its scabbard by itself into his hand and he was about to take the life of the Chinese general. It was thought in those times that the sword was the soul of the warrior and that it followed the mind of its master. Seeing this, General So was taken with fright. He quickly apologized to General Kim and rescinded the order of execution.
Paekche was defeated and Silla prepared for a war with China. However General So was afraid to attack Silla and returned home to China. Asked by the Emperor why he had not taken Silla also, General So said, "It is true that Silla is a small country, but their King is very wise and the generals are fierce and loyal. All the people are united in a strong camaraderie." He repeated the incident with the Hwarang commander and said, "they are small, but we cannot defeat them."
Another story which revealed the depth of familial bonds of the Silla period concerned the death of the Hwarang General Bi Yeng Ja. Asked by General Kim to lead a suicide attack against a large Chinese force. Hwarang Bi Yeng Ja replied, "You have given me a great honor to show loyalty to my king and country." He then requested that the general watch over his son and prevent him from following him into battle. Since Hwarang Bi Yeng Ja had only one son, he was concerned that his family name live another generation. General Kim assured him that he would watch over his son. Hwarang Bi Yeng Ja entered battle and was killed. Upon witnessing the death of his father, the son mounted his horse and followed his father into battle and was killed too. Then followed the house manager and servant who were also killed. The whole Silla army witnessed this act of loyalty and, swept with a wave of sympathy for this act of sacrifice, charged into battle to avenge the death of the Bi family. They defeated the Chinese armies and saved Silla from almost certain conquest.
Fraternal loyalties among the Hwarang warriors were frequently as strong as familial ties. Another story is about Hwarang Sa Da Ham who was 15 years old when he became a Hwarang under King Chinhung. In a war with the Northern kingdoms, Sa Da Ham pleaded with the King that he be allowed to lead the first attack. In spite of Hwarang Sa Da Ham's young age, the King consented so as to demonstrate the bravery of the Hwarang youth. Sa Da Ham led the army into battle against a fortress and he was the first to breach the gate. For his bravery, King Chinhung gave him 300 slaves from the defeated army, but Hwarang Sa Da Ham gave them their liberty and wished no personal rewards for his deeds.
In this war, Hwarang Sa Da Ham lost his closest comrade, Hwarang Moo Kwan Rang. From early childhood the two young friends had a death pact that obliged each to commit suicide should one or the other die in battle. Sa Da Ham heard of his friend's death and fell into remorse and mourning. He refused to eat or sleep for seven days. He died on the seventh day, and his sacrifice was eulogized in Hwarang novels for centuries to come.
The story of Hwarang Won Sool, the second son of Dae Jang Gun Kuksun Yoo Shin Kim, commander of the Silla army, is similar in its importance. Hwarang Won Sool was a lieutenant in the army when it suffered a defeat at the hands of Chinese troops. Upon his return, his father requested permission from King Moon Moo to execute his son for the disgrace he brought on the family and the country. But King Moon Moo replied that the boy was not in command and therefore was not responsible for the defeat. But the father banished his son into exile in the mountains as a monk. When the father died Won Sool came back down from the mountain to face his mother, but she refused to see him replying that she would not violate the father's command. Won Sool returned to Tae Bak Mountain. Some years later China launched another war. Hwarang Won Sool heard of the impending war and returned to the King to request that he be allowed to enter the battle. He was given a command and performed brilliantly. King Moon Moo wanted to reward him, but Won Sool refused, saying that his family held him in shame and that he could not accept. He returned to his mountain once again to live out his life as a hermit monk.
These stories, which became part of the Korean folklore and heroic legend, were not idle fairy tales, but models of the martial code of chivalry. This code evolved into a system of ethics and morality that was essential to the Hwarang warrior's mentality. The ego and self-interest was never sufficient to sustain such a commitment.
The development of a code of ethical behavior was achieved by the monk Won Kwang Bopsa. He told his young disciples Hwarang - Kwi San and Chu Hang, "The society of the Silla people already had five rules called Sae Sok Ohkae, but I command you to give these five rules to the Hwarang warriors for their rules of life." From this point on these five rules are called the Hwarang Ohkae. These five rules have been passed down and held by the Hwarang warriors from every generation since Won Kwang Bopsa first gave them to his two Hwarang disciples.
The End of an Era
This Hwarang system was passed through the Koryo dynasty. However, the name of this system was changed to kuksondo and pungwealdo during this time. Even so, this system existed in the same capacity until one Hwarang Jang Gun (general) Sung Gae Yi (or Lee) took over the Koryo kingdom and established the new country of Chosun (1392 AD). The third king of Chosun, King Tae Jong (the fifth son of Sung Gae Lee) destroyed the Hwarang system when he initiated a policy that ordered all of the independent Jang Guns' (Hwarang generals) personal soldiers to be under his control. King Tae Jong was afraid of the power that the individual Hwarang generals had. King Tae Jong believed that the possibility of another strong Jang Gun attacking his reign was great. So this policy was created in order to destroy all of the power that these individual Jang Guns held. This act eliminated the Hwarang system from the public which was based on the relationship between the Jang Gun and his soldiers.
After giving the king their soldiers, some Hwarang generals left the kingdom. They left society and turned to mountain life or became monks. It was almost 600 years that the Hwarang system and these Hwarang combat skills did not exist in the public society of Korea. The combat skills of the ancient Hwarang were only passed secretly from one monk to one monk, until they were passed to Suahm Dosa. He is the 57th generation Hwarang title holder and master of the secret ancient Hwarang combat skills called Um Yang Kwon . He in turn, passed these secret skills to two young boys, Joo Bang Lee and his brother Joo Sang Lee.
The Return of the Secret Hwarang Combat Skills to the Public
It was in 1942 that Lee's father went to Suahm Dosa at the So Kwang Sa temple in Ham Nam province of Korea (present time North Korea). He asked Suahm Dosa to teach two of his sons his ancient skills. Suahm Dosa accepted these brothers and began training them in the secret ancient Hwarang combat skills. In 1945 Korea gained its independence from the Japanese occupation (1910-1945). However, after this, Korea was divided into the northern communist territory and the southern democratic territory. So in 1948 Lee's family and Suahm Dosa escaped together to the south. The Lee family settled in Seoul and Suahm Dosa moved to the Yang Mi Ahm sanctuary on Ohdae Mountain. Later in 1960 the Lee brothers opened their first school. It had been almost 600 years since these Hwarang combat skills were taught in the public. With the establishment of their Hwarang Musool (Hwa Rang Do®) dojang the Lee brothers ended the secret passage of these Hwarang combat skills. Founder Dr. Joo Bang Lee and his brother also created the public syllabus for this new martial art identity Hwa Rang Do®, that they founded. When they founded this martial art identity they divided and created the categories of techniques and ranking system for their public training system from what they had been taught by their master Suahm Dosa.
In July of 1969 Suahm Dosa passed away. However, before his death he gave the 58th generation Hwarang title holder and Do Joo Nim (owner of art) position to Dr. Joo Bang Lee. In 1968, Dr. Joo Bang Lee registered the Hwa Rang Do® name with the Korean Government and founded the Korean Hwa Rang Do® Association. Also in 1968, Head Grandmaster (KukSunNim) JooSang Lee moved to America and opened the first Hwa Rang Do® school in the United States in Los Angeles, California. Later in 1972 Hwa Rang Do® Supreme Grandmaster Dr. Joo Bang Lee moved to America and opened the World Hwa Rang Do® Association and the Hwa Rang Do® World Headquarters in Downey, California. Most martial art's World Headquarters follow their founder's living place. So the Korean secret ancient combat skills receiver and martial art Hwa Rang Do® founder left his homeland and relocated the homeland of his art and the World Headquarters to America.
Hwa Rang Do's® Divisions
The Hwa Rang Do® Founder Dr. Joo Bang Lee divided four categories of his martial art. From the Musool (martial skills) aspects, there is Nae Kong (internal power), Wae Kong (external power), Mu Gi Kong (weapon power), Shin Kong (mental power), and 280 different categories of over 4000 techniques. He also divided the Insool (healing skills) aspects into the six categories of Ji Ap Sool (acupressure), Chim Gu Sool (acupuncture and maxabustion), Yak Bang Bop (herbal medicine), Jup Gol Sool (bone setting), Hwal bop (Special Aids), Ki Ryuk Sool (Ki Power healing). Hwa Rang Do® is not only an art based on self-defense. As well as being a martial art it is also a healing art.
Along with having this incredible array of skills, one of the most important priorities of all Hwa Rang Do® practitioners is the development of their characters. Their mentality is based from the Hwarang Ohkae, the code of ethics of the ancient Hwarang, as well as the Hwa Rang Do® Kyo Hoon, which are Founder Dr. Joo Bang Lee's nine principles of human morality. Hwa Rang Do® training is not only about fighting techniques. Hwa Rang Do® first counts a strong human moral mentality. That is why the "Way" of Hwa Rang Do® includes strong discipline as well as the study of philosophy and human morality.
History of Tae Soo Do®
The martial art Tae Soo Do® was created in 1990 by our Hwa Rang Do® Founder, Dr. Joo Bang Lee. This was done because the martial art Hwa Rang Do® is very hard and complicated for the majority of present day practitioners. This system is so demanding it requires a strong commitment to progress through it. There is so much to learn it has taken people without any previous training between 5-10 years before they are ready to test for their first dan. Because of this, Tae Soo Do® was created as an undergraduate program to Hwa Rang Do®. Through the training in this program, practitioners develop a fortified foundation of their physical skills and proper attitude. It takes an average of 2-3 years to achieve a black belt in Tae Soo Do®. Once a student receives this rank, they graduate into the advanced program of Hwa Rang Do® as a yellow sash (master beginner). Then it takes another 3 years on average for these practitioners to earn a black sash in Hwa Rang Do®.
One of the greatest strengths and benefits of Hwa Rang Do® is that it has extensive techniques and training in all aspects of combat skills as well as healing skills. This art can offer something for everyone. However, for the majority of inexperienced practitioners this system can take a very long time to progress though and can also be very difficult if the proper fundamentals have not already been established. This program is for people with little to no previous martial art experience. Individuals that already have had previous training can start in the advanced program of Hwa Rang Do® as a white sash. The Hwa Rang Do® program contains over 1200 techniques plus all other forms and physical movement requirements. This requires tremendous concentration for all practitioners. However, remembering this many techniques is difficult for most children so they begin in the Tae Soo Do® program. Adults that can make this strong commitment in their training and have a good attitude can also begin directly in the Hwa Rang Do® program. Tae Soo Do® was established and divided into basic movement, striking and kicking techniques, self-defense, forms, weapons, and sparring, similar to Tae Kwon Do, Karate, Kung Fu.
Concluding Remarks
This martial art Hwa Rang Do® is very different from other martial arts. Most founders of all other martial arts have passed away and their students have made many different "Kwan", "ryu", or "Won" from their one original martial art name. Because of this there are so many different and conflicting histories for the same martial art name. Along with these conflicting histories, there is a plethora of schools and organizations that have been made by dishonored or espelled students. These circumstances are the main reasons that most martial art identities have lost the integrity of their name. And because of this people have began to discard their martial art identities completely. That is why we have seen a rise in individuals who call their school Kim's Martial Art Academy or Monkey's Martial Art Academy. It is like these people do not have a martial art identity name.
However, this history of Hwa Rang Do® set here, is the one true history of our art's identity. Our founder, Dr. Joo Bang Lee is the one who brought this art to the public and is the one and only source of the aspects and techniques from this tradition. The roots of the martial art Hwa Rang Do® are from the ancient Hwarang warriors of the the kingdom of Silla. These combat skills and the Hwarang title have survived the test of time, by being passed down for 58 continuous and unbroken generations to our art's founder. The way of the Hwarang system is still intact, and the Hwarang we equally count as our instructors and masters, and the Rangdo as the students and desciples. And through the adherence to the Hwa Rang Do® Meng Sae, our five ethical rules and the founder's nine principles of human morality, we will have a strong moral mentality, which will ensure that our martial art Hwa Rang Do® will be passed on for at least another 2,000 years!
Phew, how did I manage to get all this together I ask? I must be a fanatic.

Fighting style: Sarit-Sarak
The Sarit - Sarak art of unarmed combat, is quite distinct from other martial art forms. It is simply flawless in its evasive and offensive action, as compared to any other existing martial art of the same school.
These are the Manipuri Martial Arts, the traditions of which had been passed down over the centuries. It is a very energetic and skillful art and is a way to hone one's battlecraft during the peace time in the olden days when every Manipuri was a warrior who is required to serve his country at the time of war. Long and precise practices is required and only the brave and athletic could excel. The art as seen today observe elaborate rituals and rules which are strictly observed by the participants. Besides, the above, there are other games like Lamjel(foot race), Mangjong (Broad jump) etc.
Legend has it that Lainingthou Pakhangba, the dragon god - king, ordained King Mungyamba, to kill the demon Moydana of Khagi with a spear and sword, which he presented to the king. According to another such legend, God made the spear and sword with creation of the world. This amazing wealth of Manipuri martial arts has been well preserved, since the days of god king Nongda Lairel Pakhangba. The fascinating Manipuri dance also traces its origin from these martial arts

Notice, that the Dragon King is mentioned above? What a coincidence :)
Fighting style: Savate
Savate's origins are traced to the late 1700's. It is recorded that French sailors from Marseilles France adopted kicking techniques from Asia cultures while voyaging and trading throughout the Indian oceans and the south China seas. As these kicking techniques of this kind grew in popularity with French sailors it was frequently practice aboard their ships. Sailors would place their hands on the deck when executing these kicks, it has been suggested that this was for balance when the ship was moving in wavy sea's. It has also been suggested that this may have been a kicking style that they adopted from Asia. Bouts against one another of this kind became common the sailors as they voyaged back home. This form of activity also had had become a sport between sailors to overcome boredom on the high seas

what do you know about mantis or shalion fist and or monkey. that would be kickass if you typed it up. please and thank you.
btw kick ass thread and keep up the good job.

That's a lot of copying and pasting doode! I tried to do something similar a while back, but it involved too much research.
Anyhoo...

Here's what I know about Eight Step Preying Mantis (A Southern Mantis Style).
Eight Step Preying Mantis is a traditional style that uses joint locks and hidden footwork to strike at an opponent at various angles. It's not a distance style. The practitioner has to be able to draw his/her opponent in close to use his/her powerfull techniques.
Training the forearms are esential for using joint locks and striking power! Once a Eight Step practitioner is inside on an opponent, then he/she has a great advantage. By using the movements of a preying mantis the practitioner stays grounded in a strong stance and isn't easily uprooted off their feet. The mantis movements allows the practitioner to evade direct attacks attacks along the centerline and angle into the opponents body, under and around his/her attacks to inflict tremendous damage.
The Mantis that Shujinko uses is of Northern origin and I'm not up to speed on Northern Mantis styles. Strikes to the eyes, throat, temple, and other vital areas are another characteristic of the Mantis style. Most Shaoliin styles have Mantis techniques incorporated into their system along with the other animal systems (Monkey, Leopard, Tiger, Dragon, Crane, Snake, Panther, Eagle, and many more!).
Shaolin Fist (Wu Xing Ba Fa Quan) is comprised of 8 methods and 5 forms. It's noted for its long reaching capabilities.
To clarify:
Wu Xing= 5 Elements. This deals with footwork.
Ba Fa= 8 Methods. This deals with hand strikes or 8 Hand Skill Methods.
Wu Xing Ba Fa Quan is a sub-style of Shaolin Wu Shu, but is very usefull, for the footwork aids in its long reaching strikes. The Ba Fa component is also found in the Ba Gua style.
I never studied any Monkey techniques at my Shaolin Wu Shu school, so I can't help you there. But I'm sure Chrome will find something online about it. The only thing I do know about it is that Monkey has powerfull stirkes and is very unorthidox to an opponent since the practitioner is imitating a monkey. The Monkey Stick is an extention of the monkey's attacks and can be effective in keeping an opponent at bay and also being a bludgening weapon.
I'm Ghost!
Ghost Dragon

Fighting style: mantis-northern Seven Stars mantis
Used by: Kung Lao, Shujinko
Used when: MK Deadly Alliance, MK Deception
This style has its origins in the famous Shao-lin Temple Henan Province Northern China dating back over 600 years, it is said to have been developed from 18 of the best styles of its era. Chat Sing Tong Long (Seven Star Praying Mantis) Kung Fu is a complex style comprising of many forms, which include:
Empty hand
Two man
Weapons
Two man weapons
Chi Kung (Breathing Exercise)
Your forms are like a book of reference for your techniques. Application of your forms is at the forefront of our training. It is of no use to have nice looking techniques and not being able to apply them in real combat situations. This is a deep system with much to learn physically, mentally and physiologically.
Chat Sing Tong Long kung fu is a pure martial art and should not be considered a sport. The techniques you will learn should be practiced with the up most of responsibility and safety in mind.
Sifu David Brown is one of only a handful of instructors residing in the UK representing Sifu Derek Frearson & Grandmaster Lee Kam Wing (Hong Kong/China)
Praying Mantis history:
Praying mantis style is a very famous style, developed in the 1700s by a fighter named Wang Lang. He supposedly developed it specifically to defeat the monks of the Shaolin Temple. The story is that he had been a very successful fighter who decided to test himself against the monks and failed miserably in his first fight. He then supposedly devoted years of his life to developing a fighting system with which he could defeat them. The result, we are told, is Praying Mantis style (named, it is said, the praying mantis whose defeat of a much larger cicada inspired Wang Lang to study its movements) The monks, in a pattern that was repeated many times in history, adopted the resulting style into the curriculum of the Temple.
Utilization ansd specifics:
Praying Mantis is a combination of a set of sophisticated deflections, counters, and grappling movements with Monkey style footwork (see Monkey style, below). The fundamental strategy of Praying Mantis is to wait patiently for an opening (often in the form of an attack), then tie the opponent's arms with a grappling technique and strike into soft areas and nerve centers

Chrome,you said you wanted info on Dim-Mak.Well,I'll tell you what I know.I can't tell you very much cause I don't want anyone trying it so here goes.I'm not too sure about the history except that it was essential in the training of assassins and ninjas.Dim-Mak in many ways is similar to acupuncture.It utilizes certain points on the body to do serious damage to the opponent.It consists of 12 meridians and two main vessels(there are many,many other vessels but those are the main two)which are as follows:Heart,Small Intestine,Bladder,Kidney,Pericardium or Heart Ambassador,Triple Burner,Gallbladder,Liver,Lung,LargeIntestine,Stomach,Spleen,Conception Vessel,and Governor Vessel.Each "meridian" is a line on your body.The line has a series of points along it.There are thousands of points on the body and there is a name for each and every one(how they do that I have no idea).Each meridian is associated with an element and is either a Yin or Yang meridian.Take Heart Ambassador for example.It starts on the middle finger of the right hand and goes up along the underside of the arm to the armpit.It is a Yin meridian and is related to the fire element.This "organ" deals with passion and emotional problems.This is where its similarity to acupuncture comes in.Each meridian is like a vein carrying chi across the body.When you disrupt that flow,that meridian goes out of wack.So if you disrupt the flow of chi in the Heart Ambassador meridian,you get full of hatred and you become depressed.Usually leading to suicide.The Heart Ambassador is one of those meridians that doesn't have an instant effect.The Triple Burner,which is the Heart Ambassador's partner organ,has an instant effect that causes the victim's temperature to rise.This has been scientifically proven if you don't believe me.I hope this was enough info for you,Chrome.Anyway,what did you think of the info on Yue Chuan?I can get you info on any of the animal styles.I found a really good website that has deatiled descriptions of the animal styles.By the way,I'd like to see Pankration.(Greek no holds barred wrestling)

SUNDAY SPECIAL: ANIMAL STYLES USED IN KUNG FU
Animal styles in Shaolin Gung Fu
The 'classical' and 'non-classical' animal styles are all complete fighting styles based upon the movement and character of animals familiar to the Shaolin monks (though one, the dragon, is, of course, mythological). Each animal embodies a particular range of strategies; a well-rounded fighter is assumed to be familiar with all the animals, so as to be well-equipped to choose strategies appropriate for different situations. At the same time, monks traditionally specialized in a style that was well-suited to their physiques and characters.
The five classical animals each correspond to a particular aspect of training, and each embodies a strategy. This document will only attempt to describe the strategies in so far as the author understands them:
Tiger:
Strengthens the bones. Relies on frontal assault, aggression, and power. Lots of breaking, ripping, and tearing.
Leopard:
Trains for muscle strength. More precise than the tiger. Relies on great muscular strength. The Leopard employs many crushing techniques and a lot of internal strikes with the hands. It gets in close to do it's damage.
White Crane:
Trains flexibility. Prefers to work at a distance from the opponent and at angles off-line from his attacks. Requires great flexibility for its attacking and evasion techinques. The Crane has excellent balance and is very at distrubing the balance of others. It has strong wings and uses them often and effectively.
Dragon:
Trains spirit. Uses simple, basic techniques with a challenging strategy of movement complementary to the opponent's (when he advances, I retreat; when he retreats, I advance). Prefers zigzagging motions. The Dragon has a lot of floating motion and a lot of swinging around and whipping.
Snake:
Trains chi (Internal Energy). The Snake goes for vital points. The eyes and throat being common targets.
The non-classical animals are more concerned with particular strategies and techniques, and not as much with an all-encompassing worldview of combat. Nonetheless, they include some very fine fighitng systems.
Praying Mantis:
Praying mantis style is a very famous style, developed in the 1700s by a fighter named Wang Lang. He supposedly developed it specifically to defeat the monks of the Shaolin Temple. The story is that he had been a very successful fighter who decided to test himself against the monks and failed miserably in his first fight. He then supposedly devoted years of his life to developing a fighting system with which he could defeat them. The result, we are told, is Praying Mantis style (named, it is said, the praying mantis whose defeat of a much larger cicada inspired Wang Lang to study its movements) The monks, in a pattern that was repeated many times in history, adopted the resulting style into the curriculum of the Temple.
Praying Mantis is a combination of a set of sophisticated deflections, counters, and grappling movements with Monkey style footwork (see Monkey style, below). The fundamental strategy of Praying Mantis is to wait patiently for an opening (often in the form of an attack), then tie the opponent's arms with a grappling technique and strike into soft areas and nerve centers.
Shaolin Bird:
Shaolin Bird style is one of the older fighting styles, being derived from the very old Lo Han style by way of the later China Hand style that seems to form the basis of much of the familiar Korean and Okinawan styles. (Many of the movements in Okinawan karate and such styles as Tang Soo Do closely resemble movements in China Hand and Shaolin Bird styles).
In Shaolin Bird style the hard, linear strikes and kicks of Lo-Han and China Hand first begin to acquire some of the circularity and fluidity that is characteristic of many later Chinese styles.
The strategic assumption is Shaolin Bird style is that the opponent is larger and stronger. The Bird stylist compensates by leaping in to deliver a flurry of strikes, and then leaping back out of range; or, again, by goading the opponent into a charge and sidestepping while striking. Bird style relies on quick transitions between low and high attacks and stances, sudden reversals of direction, long-range jumps to cover ground quickly, and well-developed stamina. Bird forms emphasize elbows and finger thrusts to soft targets.
Monkey:
Monkey style is an advanced style that demands much of its practitioners. Like Shaolin Bird style, it assumes that the opponent is larger and stronger, and compensates by making it hard to reach or hold onto its practitioner. The Monkey stylist jumps, flips, rolls, and climbs to avoid his attacker. He attacks from peculiar angles, and contorts his body to strike when the opponent believes himself safe.
A monkey stylist, if faced with an opponent who likes the lunging attacks and strong stances of, let us say, a Shotokan stylist, might sidestep the lunge, climb onto the opponent's knee to elbow into the head, and then dive into a roll to escape retaliation. Monkey stylists strike with the backs of the forearms, with the elbows, and with hook kicks and ape kicks (like a front snap, but twisted inward to strike like a roundhouse, but with the leg turned the opposite direction). Monkey stylists like to tease their opponents into rash action and take advantage of their rashness.
Eagle claw:
Eagle claw style is an animal style derived from the grappling art of Shaolin Chin Na. It relies on very powerful seizing, pinching, twisting, and locking techniques to immobilize or punish an attacker. Eagle claw stylists work hard on developing their grips to facilitate application of painful locks and nerve pinches. Like jujutsu, Eagle claw employs leverage and joint manipulation to defeat an opponent.
Other styles:
There are many more Shaolin animal styles. A suggestive list might include White Ape, Wild Horse, 10,000 Bees, and Golden Centipede. Obviously I have done nothing more here than to suggest the variety of Shaolin animal styles.

Golden Centipede?I'd like to see more info on that.

Fighting style: monkey and angry monkey style Na Hau Kuen
Used by: Noob-Saibot
Used when: MK Deception
Warning! Monkey style is strongly connected to Mantis!
Wang Lang, who had already forged the Praying Mantis system, found yet another breakthrough while walking in the forests in the mountains. He saw monkeys picking fruits from a tree. As quietly as possible, he approached the tree, yet before he could reach it the monkeys saw him, and instantaneously jumped away. Without thinking, Wang Lang raced after them using his well-trained "nimbleness technique". Amongst the trees, the monkeys rolled, trotted and jumped, and he was soon left far behind. Panting, Wang Lang wiped off his sweat and laughed. Thinking back to what he had just seen, he imitated and analyzed the monkey's leg movements. They were exactly what he had been searching for!
The way the monkeys advanced, retreated, dashed, jumped and turned, proved to be more alive than all the big steps and broad stances used in all the other martial arts of that time. From these observations, he designed the "Monkey steps" which are characterized by narrow paces and quick legs. This would enable better speed and spirit in moving. The "Eight Basic Stances" were combined with the well known "Thirteen Arm and Hand Techniques". Thus the skill of the Praying Mantis and the liveliness of the monkeys was joined.
For the practical use of Praying Mantis forms and techniques, Wang Lang included a number of axioms to highlight key points of his new style:
Hands are doors; legs reach out.
Hands be brisk as shooting stars, eyes keen as lightning.
Body goes like dragon and legs like arrows.
These axioms mean that in this Martial Art, most of the upper body techniques are mainly to block, protect, or undo the attacks of the opponent. The major task of counter-attack lies in the legs. That is, the hands and upper body are used to safeguard oneself and occupy your opponents attention, while exerting attacks chiefly with the legs. To do this, you must skillfully match hand and leg movements, making most use of the right timing, distance and position.
Wang Lang also set down some somewhat chivalrous rules in fighting for his students to follow long before the Marquis of Queensbury. These rules described parts of the body that you could or should not hit, for morality's sake. He wanted his followers to value high morals as well as excellent fighting techniques, so as to develop a supreme Martial Art.
Physically, it relies upon speed and extraordinary flexibility coupled with surprising and tricky behavior that channels instincts most humans have forgotten and let become dull. Because of this need for agility, it cannot be performed while wearing hard armor of any sort.
Nau Hau Kuen, Angry Monkey Style
From the beginning of time, man has tried to copy the survival techniques of animals. Early man sought to mimic the movements of various animals, increasing the chance that their species would endure. As man developed, self defense and fighting skills were required to stay alive. In China, animal styles of self defense evolved over time.
Seeing how certain animals protected themselves, intrigued kung fu masters. The Tiger, Bear, Eagle etc., all of these animals have different techniques of protecting themselves. Chinese masters noticed monkeys to be shy and timid if left alone. However, monkeys were found to be savage once angered.
The first mention of "Monkey style" kung fu was in the Han dynasty (206 B.C. - 220 A.D.). During that time a martial artist named Tan, Chang-qing gave a demonstration of a monkey style while under the influence of alcohol. Also during this period a silk painting was found entitled "a bathing monkey calls", with pictures depicting a monkey style. Another type of monkey form was found in the period. This was created by a physician named Hua Ta. He healed the sick and the weak with breathing exercises and physical movements he called the 5 animal frolics. These 5 animals were the Tiger, Bear, Crane, Deer and the Monkey.
In the Song dynasty (960 A.D. - 1279 A.D.), Yan Ching added monkey techniques to his Mi Zhong Yi or Lost path style. The Great Emperor Tai Tsu created the Long Fist style (Northern Shaolin), and a monkey style. During the Yuan dynasty (1260 - 1380), Shaolin monk Bai, Yi-feng combined monkey style with 4 other arts to form what is still known today as Ng Chor Kuen or 5 Ancestors Fist.
In the Ming dynasty (1368 - 1644), Chinese army general Chi, Ji-guang mentioned monkey as contemporary style in his "New Book of Discipline". Another martial artist, Wang, Shi-xing wrote in his book "Journey to Song Mountain" : When I descended the mountain and returned to my lodge, the priests performed various martial arts to entertain me. Among them was a monkey style exponent who leaped and turned as though he was a real monkey. In 1564 Governor Zheng, Ruo-zengs wrote a whole chapter on the "The 36 Tactics of the Monkey style" in his book "Posting as Governor South of the Yangtze River.
During the evolution of the monkey style, many other kung fu systems incorporated monkey techniques into their style. In the early 1700's Shaolin master Wang Lang added the agile footwork of the monkey to create his Praying Mantis style. Most all Shaolin systems have at least one monkey form. Tai Chi Chuan has monkey movements named "Step back and repulse the monkey" and "White ape presents the fruit".
While the evolution of this style affected many other arts, it has split into 3 separate categories of monkey flavor. The first flavor is that of the Opera monkey. Chinese opera is very popular and has been a part Chinese society for hundreds of years. This style uses gestures, sounds and movements for opera performance. This has very little martial value and is more just something to watch.
The second flavor is Wushu monkey. The style is more gymnastic with cartwheels and back flips for tournament performance. Although this style is more martial in nature, most of it's students are interested in competition. Over time this style has gained popularity in the tournament scene.
The third flavor is that of the pure monkey fighting style. This type of monkey has no back flips or cartwheels, but uses monkey tactics and relates them to human fighting situations. There are very few pure monkey fighting styles left because it is so savage and our societies tend to lean away from violence.
In the late 1800's northern Shaolin master Lee, Shao-hau developed a style of monkey kung fu he named Nau Hau-zi Chuan (Angry Monkey Fist). He based his new style upon 6 theories of fighting from various monkey fighters of his day. These 6 theories known as the 6 key word formula, form the basis of Nau Hau-zi Chuan.
The fist key words are pa and nau, afraid and angry. Master Lee observed that monkeys are generally prone to run, rather than fight. It is only when they are cornered or protecting their young that they will turn and fight. Therefore, Lee felt that his students should develop this same type of attitude. A willingness to avoid fighting whenever possible, but to fight animalistic ferocity when there is no other option.
The second key words fa and jing describe the use of explosive energy. Fa jing is an energy that lies boiling under the surface of a calm demeanor ready to explode. Monkeys are full energy of and put themselves fully into everything they do. They seemingly rush from one activity to another, moving in short bursts of energy. The monkey fighter attempts to emulate this same type of energy in his attacks. His movements are a blur of activity with attacks coming at several targets from a multitude of angles. Thereby, keeping his opponent confused and unable to defend an overwhelming never of attacks.
The third key words, ching and ling, refer to the much lauded footwork of the monkey styles. The monkey fighters quick footwork seemingly takes him here, there and everywhere all at once. Never static in stances, he moves from a low horse stance or crossed leg stance as nimbly as a ballerina performs her leaps and turns.
The forth key words are sei and sao (4 hands). This refers to the fact that monkeys actually have 4 hands, rather than 2 hands and 2 feet. This is due to the presence of thumbs where big toes would be located. Therefore, monkeys have the ability to grasp and hold with their lower limbs in much same way as their upper limbs. The monkey practitioner attempts to mirror this advantage through extensive training in foot hooking, leg sweeping, leg entangling and kicking methods not found in other styles of kung fu and coupled with fast northern Shaolin hand techniques.
The fifth key words sai and go (small and tall), refer to the practitioners ability to hide his true reach. He stands or crouches coiled in a small ball until the right moment then extends his limbs well into the opponents fighting range. This type of trickery can lure an opponent in to close, then there is no escape from the monkey fighters blitz of techniques.
The last key words of the Nau Hau-zi Chuan are tin and dei, which translate as heaven and earth. This term refers to 2 concepts. The first is the strategy of faking high, then attacking low or vice versa. The second concept deals with training each student to fight efficiently at every level. Whether leaping, standing or rolling across the ground. Every punch, kick and locking technique must be learned from all 3 levels.
These 6 verbal formulas form the nucleus of the Shanxi Nau Hau-zi Chuan style of monkey kung fu. As well as the 6 key word formula the student is taught to fight with his body as a whole unit, rather than singular punches and kicks which can be easily blocked. In practice this translates into fighting blitzes containing at least 5 different attacking methods incorporating grabbing, striking, kicking or tripping, locking and throwing the opponent. The last part taught to the Nau Hau-zi Chuan monkey stylist is that when in a confrontation, if you must fight: "#1 Attack Suddenly, #2 Attack Violently, #3 Attack Without End Until Opponent Submits or Withdraws.
During the late 1800's China was thrown disarray and upheaval. Foreigners from Britain, Japan, United States, France etc. had forced treaties upon China and sought to replace Chinese religion and culture with western ideas. In response many Chinese people joined secret societies such as: The White Lotus Society, Triads, Heaven and Earth Society, The Righteous and Harmonious Fists, The Yin and Yang Gang and The Big Sword Society. These groups banded together to overthrow the foreigners.
In 1899 the secret societies, or Tongs as they are known in China, began razing foreign built hospitals and schools, burning down churches and killing foreign missionaries and their Chinese coverts. One such covert was a young woman named Chingling who lived in Shanxi (a northern China province). She, her family and other local Chinese converts were fleeing Shanxi to avoid the coming persecution when their party was ambushed by several members of the Righteous and Harmonious Fists gang. They would have perished had it not been for the famous monkey kung fu stylist, Lee Shao-hau, who was traveling with them. Lee quickly dispatched the attackers with his famous whirling daggers technique.
In appreciation for Lee's heroism Chingling was given to Lee to be his Bride. Chingling's family provided finances for the couple to relocate to the United States in order that they might escape enhanced religious persecution from the Righteous and Harmonious gang. Thus in 1899 marks the advent of the Angry Monkey style in the US.

Golden centipede comes instantly within a half an hour my friend!
Fighting style: Sumo
Used by: Bo Rai Cho
Used when: MK Deception
Origins and ancient sumo
The earliest written mention of sumo is found in the Kojiki (Record of Ancient Matters), a book from the year 712, which is the oldest extant example of Japanese writing. The Kojiki relates a legend about how possession of the Japanese islands was determined by a sumo match. According to the book, about 2,500 years ago, the gods Takemikazuchi and Takeminakata grappled on the shores of Izumo along the Japan Sea coast in what is now Shimane-ken, until the latter finally lost. Thus control of the archipelago was ceded to the Japanese people led by Takemikazuchi, who is said to have established the imperial family from which the present emperor traces his ancestry.
Since the Japanese didn't keep any written records until the 8th century, it is impossible to know, aside from legend, exactly when sumo first developed in Japan. However, ancient wall paintings indicate that its origins are very old indeed. In prehistoric times, sumo appears to have been performed mainly as an agricultural ritual to pray for a good harvest.
It is also impossible to determine whether sumo is a completely indigenous sport or whether is was influenced by similar forms of grappling from other parts of Asia and Eurasia. Grappling seems to be a rather basic, instinctive sport played mostly by men.
Sumo in its early days tended to be violent with no holds barred--often a veritable fight to the finish. The Nihon Shoki (Chronicles of Japan), from 720, records the first bout between lowly mortals as taking place in 23 BC. Emperor Suinin (r. 29BC - AD70) is said to have made a special request to Nomi no Sukune, a potter from Izumo, to fight Taima no Kehaya, a bully and braggart from what is now Nara-ken. The two grappled for quite a while until Sukune finally rendered some devastating kicks to Kehaya's stomach and solar plexus. Kehaya was mortally wounded, and Sukune, the victor, has been immortalized ever since as the 'father of sumo.'
Sumo in pre-modern Japan
There are several other legends about sumo matches held in the imperial presence before Japan adopted the Chinese writing system in the 7th century. The first historically authenticated bout took place in 642, when Empress Kogyoku (r. 642-45) assembled her palace guards to perform sumo to entertain envoys from the Paekche court of Korea. Later records mention sumo being performed at the functions of the imperial court, including at coronation ceremonies. The custom of 'tenran-zumo' (sumo in the imperial presence) is still carried out at present, albeit in different form.
During the reign of Emperor Shomu (r. 724-49), sumaibito (sumotori) were recruited from all over the country to perform in the Imperial Palace garden at a festivity called 'sechie' held each year on the 7th day of the 7th lunar month (early August by today's calendars). At the same time cultured people would gather as well at the palace to display their skills at writing poetry. With the establishment of 'sechie-zumo,' sumo expanded from an agrarian ritual to a large-scale rite to pray for the nationwide peace and prosperity of Japanese society.
In the late 8th century, Emperor Kanmu (r. 781-806) made sechie-zumo an annual event in his court, and the custom continued through the Heian period (794-1185). During the reign of Emperor Saga (r. 809-23) the practice of sumo was encouraged as a martial art; rules were established and techniques refined.
After the establishment of the first shogunate in Kamakura from 1185 to 1392, sumo came to be practiced all the more as a martial art by the warrior class. Minamoto no Yoritomo (1148-99), the most famous shogun of the era, was a sumo fan who watched it along with demonstrations of other forms of military training at Tsuruoka Hachimangu Shrine (now a popular tourist site in Kamakura).
Oda Nobunaga (1534-82), a major feudal lord, was particularly fond of sumo. In February 1578, he assembled over 1,500 sumotori from across the country for a tournament held at his castle. Until then there had been no definite boundaries to the arena in which sumo was held; the space was delineated simply by the people standing around in a circle watching or waiting for their own turn to fight. Apparently because many bouts were to be held on the same day at Nobunaga's Azuchi Castle, circular boundaries were drawn on the ground for the first time to speed up the proceedings. These boundaries also had the effect of making sumo safer for its spectators.
The first documented evidence of a ring demarcated by rice straw bales placed on the ground in a circular pattern can be found in the Empo era (1673-81). In the early 18th century, the bales came to be half buried in the ground circling the ring, similar to the way they are at present.
From the Period of Warring States through the Edo period (1603-1867), several daimyo began offering their patronage to the strongest sumotori. Those employed by a daimyo not only received a generous stipend but were accorded samurai status as well. They were also presented ceremonial aprons embroidered with the feudal lord's name. Such patronage guaranteed a good living, so many promising rikishi vied with each other in the ring to catch a daimyo's eye. The ranking sheets listed the name of the fief they served rather than their actual places of birth, as is done today in sometimes noting the prefecture of family registry rather than birthplace.
The Modern Sumo Kyokai
The predecessor of modern professional sumo underwent an almost parallel development throughout the Edo period and was called 'kanjin-zumo,' implying that it was to be carried out to collect donations toward the construction or repair of shrines, temples, bridges and other public works. But some of the money, of course, was also used to pay the rikishi, many of whom at that time were ronin (masterless samurai). In due time the money collected came to be used primarily as wages for the sumotori.
During the Edo period a ranking system and ranking sheets were initiated. In 1761, the name of the sumo organization on the ranking sheets was changed from kanjin-zumo to 'kanjin-ozumo,' marking the first time the professional version of the sport was called 'Grand Sumo.'
The sumo association from Tokyo, with 88 toshiyori names, were added to the 17 from Osaka in 1927 to form the modern Sumo Kyokai.

Fighting style: golden centipede
This style is extremely hard to find. The only thing I can say about it, that the style originates itself from the Fukien temple, where such styles were also in practice, like: Southern Fist, Sparrow, White Monkey, Wild Horse, Iron Bo-ne, Iron Palm, Iron Shirt, Short Fist (Tuan Ch'uan)

Fighting stiyle: Muay Thay Used by: Jackson "Jax" Briggs used when: MK Deadly Alliance Thai Boxing, or Muay Thai as it is called in Thailand, is the most popular spectator sport in Thailand. Its real origins probably will never be known, since Thailand's early historical records were lost forever 1769 when Burmese armies laid siege to Siam?s ancient capital, Ayutthay. According to stories From the reign of King Naresuen the Great (1590-1605), Muay Thai was a part of military training. The king was an expert in individual combat techniques; he won several contest and became a national hero at 22. Warriors learned Muay Thai to supplement the sword and pike in close-range fighting. Muay Thai reached its height in popularity during the reign of Pra Chau Sua (1703-09). Siam was at peace and Muay Thai became the favourite pastime of the population. Prize-fights were staged in every village. In those days it was customary to bind hands and forearms with strips of horse hide, to protect one's own skin and to inflict the maximum damage to an opponent's face. In 1970s modern boxing gloves were introduce and metal groin protectors added for safety. The contest always begins with a rite or invocation that is typically Indian in nature. A bout consist of five 3-minute rounds with 2-Minute rest periods. The fight is controlled by a referee and two judges, who keep score cards. Decisions are arrived at by knockout (count of 10), a technical knock out-the result of serious injury, or by Throwing in the towel, or on points tallied by the officials. Points are awarded for any legitimate attack that weakens the opponent. lf the contestants have an equal number of points a draw is declared. The referee's decision is final, and judges have no right to dispute the result. "No contest" is declared when a boxer shows poor technique or lacks fighting spirit. Hip and shoulder throws are not allowed, neither are head butts, choking, or biting, or attacking when an opponent is down. Modern Thai boxing has about 30 major basic techniques. There are six ways of the fist, five elbow techniques, seven different kicks and five ways of using the foot for pushing or thrusting. Training sessions are strict; boxers workout every day after their regular job. Except for a few camps, training is conducted outside. Before the competition of Muay-Thai , Thai swords , or any other ancient weapons martial arts , every competitors must perform the "Wai-Kru" ritual and perform the boxing dance which is the continued tradition since ancient."Wai-Kuru" is a way to pay respect to his majesty the king or the chairman of the competition tournament. Furthermore , "Wai-Kru" is the way to realize the goodness of the master who give them the knowledge. It's also the way to create the strength of their mind. The style of the dance is unique of each of boxing bureau. The boxer who danced the same style wouldn't box each other since they realize that they have the same master. Furthermore , to dance is one way to warm up before starting the fight . it also helps relax the stress and to prepare body and mind to be ready to get into the battle. Kon Muay means the movements or the styles of using Muay Thai as the art of Fighting both of the attack and the defense, which are named by the characteristic of the usage. If using for example the attack called Knon Muay JuJom. If using for the defense or counter called Kon Muay-Kae. If using for the defense and counter by the fists called Kon Muay-Kae Mad, to defend and counter by the feet called Kon Muay-Kae Tao, to defend and counter by the knees called Kon Muay-Kae Kao, to defend and counter by the elbows called Kon Muay-Kae Sok. Mr.Yod Ruerngsa said about Kon Muay in the text book of Muay Thai -tamrab Parchao Suer the following:

lol..thanks Chrome. I suppose you're right about the Japanese being translated over to hundreds of meanings though Ninjutsu is generally defined as having to do with stealth and espionage tactics. Gyokushin Ryu Ninpo specializes in the espionage aspects of the Ninja and is more about that kind of stuff than fighting techniques though it does have fighting techniques in it. Like I said, the Gyokushin Ryu Ninpo techniques are derived from that of Gyokko Ryu Koshijutsu.
Anyway, the origins of Gyokko Ryu Koshijutsu are kind of complicated since its beginnings are associated with different people such as Cho Gyokko and Yo Gyokko who supposedly fled from China to Japan when the Tang Dynasty fell. It's believed that Cho and Yo may have been the same person. The Chinese name of Gyokko was Yao Yu Hu. This style is also associated with a Chinese princess as well as a general or some kind of military official named Ikai (also known as Ibou) who either came from China or Korea. Ikai is said to have been the one to bring Ninjutsu to Japan though I personally don't believe that. He was also said to have brought the knowledge of Koshijutsu to Japan which may have been partially true, but keep in mind that this is speculation.
The techniques of Gyokko Ryu are circular and long-ranged and consist of using the thumbs and fingers. The practicioner of this style strikes at muscles and weak points so it's similar to Dim Mak/Kyushojutsu in some ways and also, some even compare Gyokko Ryu to Ba Gua Zhang.
Although it is classified as a Samurai martial art, Gyokko Ryu is also classified as Shitojutsu (uses of fingers and thumbs) and Ninpo (the law of endurance, patience, espionage, etc.) which I find interesting because you'd think Ninpo would be associated with the Ninja and it is, but it's real strange...
Gyokko Ryu Koshijutsu is the oldest martial art used in the Bujinkan Budo Taijutsu system and is said to have an influence on the foundations of Koto Ryu Koppojutsu, Gikan Ryu Koppojutsu, Shinden Fudo Ryu Dakentaijutsu, Togakure Ryu Ninpo Taijutsu, Gyokushin Ryu Ninpo Taijutsu, and Kumogakure Ryu Ninpo Taijutsu, directly and indirectly.
Kumogakure Ryu is said to be more of a non-violent type of Ninjutsu style and uses double arm blocks and double fist attacks and such. Like I said before, the techniques in Kumogakure Ryu are influenced by the techniques in Togakure Ryu.
Koto Ryu is very direct and short-ranged. It's all about bone smashing techniques and such. Gikan Ryu has good stances and footwork techniques. Shinden Fudo Ryu is direct and hard-hitting and the founder of this style, Izumo, is said to have learned Chinese Kempo though there are many "Chinese Kempo" styles so an exact lineage is hard to trace.
Tagaki Yoshin Ryu Jutaijutsu has very brutal grappling moves and is very close-ranged. It looks very similar to Judo and Aikido but is different from those styles. The techniques of Tagaki Yoshin Ryu are derived from styles such as Takenouchi Ryu Jujutsu (sp?) and a bit of Sumo.
As for Kukishinden Ryu Happo Hikenjutsu, it's meant as more of a naval art. Morihei Ueshiba learned this style along with styles such as Daito-Ryu Aiki-jutsu, Tenshin Ryu Jujutsu, and Kito Ryu Jujutsu and later on developed Kukishin Aikido.
One thing I find odd is when someone says that Ninjutsu is 800 years old, because if I'm not mistaken, Ninjutsu is much older than that. I suppose it has to do with neglecting the Koga and Fuma and recognizing only Iga, especially since the Iga arts are the ones that remain today....well...at least the 9 that are a part of the Bujinkan system......Gyokko Ryu is said to have been the backbone of the martial arts in the Iga region.
Anyway, I'd like to know about Phoenix-Eye Kung Fu. I think it would suit Blaze as well as Pak Mei (White Eyebrow).

I would like to know somethin bout dimmak and kyusho jitsu. If practice is dangerous on a human, which it obviously is, then how i incorporate these techniques into what i already know.. is a manual enough, as in memorisation??

mindripper,I practice Dim-Mak and they don't practice it on anything really.They give a chart that has the pressure points on it and they explain what each one does.It's actualy very hard to learn and memorize all the points but you can memorize just the most important ones.What do you mean by incorporating it into what you know now?

I just realized what a kickass little thread I created... :)
Please anyone, could you get me some info on Vale Tudo? i just can't seem to find anything on it on the net. by the way, what style would you like to hear about? Each of you vote please! :)
Fighting style: greco roman wrestling or pankratión
The forms of wrestling we know today as Greco-Roman and Freestyle found their origins in the lands on the eastern end of the Mediterranean Sea. These lands are where the Ancient Greeks resided, and developed the art of wrestling.
Wrestling to the Greeks was not only part of a soldier's training regimen, but also a part of everyday life. Youth did not only learn grammar, rhetoric, and mathematics, but young men also went through physical training which consisted of dancing and the art of wrestling. Boys were paired up and learned the art of wrestling in their master's palaestra, or private exercise court built onto the house of a schoolmaster, under the supervision of their instructor. The Greek recognized wrestling as a means of development of grace and symmetry in a vigorous activity that demands a high degree of skill and physical fitness.
Greek literature points out that the skill of wrestling was utilized by gods and kings, as well as by soldiers and private citizens, in their efforts to triumph over ignorance, evil, and brute force. Most of the heroes of Greek mythology were depicted as skillful wrestlers. Their appreciation of skill most likely led to its introduction as a major sport in the Olympic Games in the year 704 B.C. Before 704 B.C. wrestling was an event of the pentathalon.
Wrestling in Ancient Greece is depicted in art such as sculptures and vase paintings, and wrestlers even showed up on their coins and in murals. Wrestling matches are even mentioned in writings such as Homer's Odyssey which dates back to 800 B.C. According to legend, Theseus is supposed to have drawn up the first rules of wrestling in 900 B.C.
Wrestling was a major sport in most ancient Greek festivals, including the Olympic Games, from the beginning. In these festivals sports other than wrestling, such as foot-races, chariot-races, throwing of the diskos and javelin, and boxing, were also included. These events with variations and additions made up the program of the athletic festivals of Greece throughout their whole history. The events of the Olympic Games survived even through the rise and fall of the Roman empire.
The form of wrestling that was an event in the ancient Olympics was the beginning of what we know today as Freestyle wrestling. Milo of Croton is the most famous of all ancient Greek wrestlers, winning 6 Olympic championships, though he would not take part in thePankration or boxing.
The decline of the sport of wrestling and other sports in national competitions was brought about by monetary prizes at competitions and the professional athlete, who devoted his life to training and taking part in competitions for the prize money. This brought about disinterest from the common man, who couldn't devote all his time to training. This also brought about corruption. Wealthy competitors could buy their way to victory or wealthy gamblers could pay someone off in order to fix a contest. Some athletes gladly took bribes in order to make money.
Along with the corruption of the sport of wrestling, the rise of the Roman Empire also contributed to the decline of the sport of wrestling. With the conquering of Greece by the Romans, the Greek form of wrestling began to lose popularity, since the Romans didn't have the same appreciation for grace and skill. The Romans were more interested in brute strength and violence. This is why the Pankration survived along with another form of wrestling that is a combination of the Greek and Roman styles, which we now know today as Greco-Roman. This style is strictly upper body. A competitor must use only his upper body and attack only his opponent's upper body (the waist and above). Since then, rule modifications have been made, but it is still the basic form of Greco-Roman.
One last thing that brought about the decline of Greek wrestling, is the participation of many more countries in the Olympics. This was due to the Romans allowing other countries to participate in competitions such as the Olympics. The Greek spectators became tired of seeing their local wrestling heroes being defeated by competitors from the East. The success of the Asian wrestlers and others helped along the decline of Greek wrestling.
Interesting to say, that the only two main rules in the pankratión matches in the archaic Olympic games were:
-dont attack the eyeballs in any way!
-dont bite into the opponents balls! - :) :) :) :)
Im making sprite comics (continuing the MKhistory wich was originaly started by The shirt ninja)

Here is Fan Zi.
Fighting Style:Fan Zi
Used By:Jade
First Appearance:Mortal Kombat:Deception
Fanzi Quan or tumbling Chuan is also known as Bashanfan (eight-flash Chuan). It is so called because of its eight major flashing movements, which are executed as fast as lightning and thunderclaps. The movements in tumbling Chuan are varied and continuous.
The Fanzi Quan ballad says: "Wu Mu has passed down the Fanzi Quan which has mystery in its straightforward movements." Wu Mu is the other name for Yue Fei, a famous general of the Southern Song Dynasty. Some people have taken this to mean that Fanzi Quan was created by Yue Fei, but no historical record has verified this.
Earlier mentions of Fanzi Quan appeared in A New Essay on Wushu Arts written by anti-Japanese general Qi Jiguang of the Ming Dynasty. In Volume XTV of Quan Jing (Chuan Text), it says: "Throughout the history of fist fights, there have been the 32-form Chang Quan of Emperor Taizu of the Song Dynasty, Liubu Quan (six-step Chuan), Hou Quan (monkey-imitating Chuan), E'quan Chuan, etc. Though their names are different, the routines are roughly the same. As for today's 72-move Wen-family Chuan, 36-move locking fist fight, 24-move reconnoitre Chuan, eight-flash Chuan and 12-move short style Chuan, they are among the best styles."
exactly tumbling Chuan of today. Bashanfan was the old name used in the Ming Dynasty. From Qi's account, it is evident that Bashanfan was already a comparatively complete and perfect style of fist fight in the Ming Dynasty. Fanzi Quan centers on the Bashanfan (eight-flash moves) while others are merely derivatives of this.
During the Qing Dynasty, Fanzi Quan was popular in north China, especially in Raoyang, Lixian and Gao-yang areas in Hebei Province. During the reigns of Qing emperors Xianfeng and Tongzhi (1851-1874), a recluse called Zhao Canyi lived at Raoyang in Hebei. Zhao was not only proficient at Fanzi Quan but was also well known for his master/ of Chuojiao Quan (feet-poking Chuan). He taught the Chuan arts to Duan and Wang families respectively. The brothers of Duan Zhixu and Duan Zhiyong learned Chuojiao while Wang Laozi and Wang Zhan'ao studied Fanzi Quan. Later on, the two families taught each other and exchanged their knowledge. Fanzi Quan stresses the use of hands, whereas Chuojiao emphasizes the use of feet. Modern Fanzi Quan experts often practise feet-poking skills as well.
Fanzi Quan spread far and wide after it was introduced into Hebei, developing many branch styles. The eagle-claw tumbling Chuan was evolved on the basis of a combination of the eagle-claw moving Chuan, eagle-claw running Chuan and tumbling Chuan. When hitting, the hand is in the form of clenched fist. When retrieving, it is in the form of an eagle claw. Fist jabbing can be as fast as the swing of a whip and as relentless as teeming rain. Another combination is Digong Quan (ground stroke Chuan) and Fanzi Quan tumbling Chuan, called Digong Fanzi Quan (ground stroke tumbling Chuan). It absorbs both the tumbling Chuan tricks of fastness and variation and the ground stroke Chuan moves of falling, pouncing, wrestling and leg locking. Because there are some feet-poking tricks in the ground stroke tumbling Chuan, it is also called by some the feet-poking tumbling Chuan. Other combinations include Shaolin tumbling Chuan, long-style tumbling Chuan, short-style tumbling Chuan, Yanqing-style tumbling Chuan and soft palming tumbling Chuan. (see picture)
Contemporary Fanzi Quan master Yu Boqian not only inherited the tumbling techniques from his predecessors but also improved it by programming two new routines of wave-poking tumbling Chuan and back-rolling tumbling Chuan.
Fanzi Quan stresses the combination of external and internal strengths and energies. Exercises involving the circulation of air flows inside the body are carried through the water conduit, blood vessels and network of sinews which Chinese medicine believes exist in human bodies. These three networks and channels merge under the guidance of the mind. Tumbling boxers take root in their legs while emphasizing hand tricks and movements. The tumbling exercises are divided into two classes of major moves and minor moves. The major moves include jabbing, axing, elbowing, jamming, wrestling, rubbing and holding. The minor moves are rolling, lifting, turning, penetrating, slipping, hammering, provoking and flicking. In tumbling Chuan, the routine is made rhythmic by slow and fast movements, continuous and intermittent actions. Tumbling boxers prefer to fight in a straightforward way. They change freely from hardness to softness and vice versa. When the hand hits out, the foot follows with a quick step. The body clutches together while moving around fast. The fist never hits out aimlessly nor does the hand retreat without trying to attack on its way back.
The routine of tumbling Chuan is short and terse. Its movements are agile and quick and arranged in compact patterns. While practising, the footwork is steady, posture upright and square, and actions are versatile. One moment the two fists hit straight and the next they are rounded for their attacks. Various tricks and moves are like whirl-winds and the entire routine is completed as if in one breath. The fist hits of tumbling Chuan are described "as dense as rain drops and as fast as a burn-ing string of small firecrackers." The tumbling Chuan stresses crisp, fast, hard and resilient movements.
Coming Soon:Zi Ran Men,Tong Bei,Kuo Shou,Baji Quan,and Mi Tzu