Phoenix eye is not really a style, but rather a mannerism. Its a method of striking which has the forefinger protruding out of the fist. Makes the fist more well rounded and makes it easier to strike powerfully and accurately. Used in styles like wing chun, eagle claw and i believe pai mei. dim mak utilises its power and accuracy as well.

Fighting style: Tai Chi Quan
Used by: Blind Kenshi
USed when: MK Deadly Alliance, MK Deception
Taijiquan is one of the oldest documented forms of martial arts, dating over 1,500 years. The question of its origin is highly controversial, and proponents of one theory over another base their arguments on differences in:
posture and form
training, techniques and combat strategies
philosophy and legend.
Taijiquan history becomes more clear in modern times and reached a golden period during the turn of century. Legendary fighters such as Yang Lu Chan, his family and students contributed to its renown. Now taijiquan is one of the strongest threads in the tapestry of Chinese martial arts.
There are five major periods in the story of taiji quan:
Prehistory
Chan Village
Yang Family
Other Styles
Modern Period: the Synthetic Styles
PREHISTORY:
Tai Chi theory and practice is based on a long history that spans thousands of years. Its progress is attributed to many legendary figures including:
Long Fist of Hsa Suan Ming (618-905, Tang Dynasty)
Hsien-Tien (The stage before the universe is created pugilism)
Chang Chuan (Long Fist) of Li Tao Tze (618-905, Tang Dynasty)
Nine Little Heavens form of Hen Kon Yu (907-921, Liang Dynasty)
Hu Tien Fa ("Post-Heavenly Method") of Yi Li Peng
Wudang Tai Chi of Chang San Feng (1247 - 14??)
Wang Tsung Yueh (1736-1795)
Jiang Fa (1716-1795)
Chen Chou- t'ung and Southern Tai Chi (1700 - 1800)
Most people recognize Chang San Feng as the founder of T'ai Chi Ch'uan. The Chang San Feng legend can be viewed as having three phases: phase I (prior to 1669) merely claims that Chang was a Taoist immortal; phase II (after 1669) claims that he founded the "internal" school of boxing; and phase III (post 1900) claims that Taijiquan originated with Chang. The Chang San Feng legend evolved during the Ming period (1368-1644), based on the close association of early Ming rulers with Taoism and Taoist priests, whose prophecies had supported the founder of the dynasty. Little is known about Zhang except that he is described as an eccentric, itinerant hermit with magical powers, who died once, but came back to life, and whose life, based on varying accounts, spanned a period of over 300 years. According to legend, Chang San Feng created a new set of exercises now known as taijiquan in the Wudang Mountains.
Chang's new insight in the practice of martial arts are expressed according to four basic principles:
use calm against action
soft against hard
slow against fast
and single against a group
Those ideas seem to be contrary to conventional combat training and, in general, the philosophy of Chang San Feng serves to counter-balance the teachings of Bodhidharma and the Shaolin school.
CHEN VILLAGE:
Chen Village, Chenjiagou ('Chen' - surname, 'Jia' - the family of, 'Gou' - gully or ravine, because the village lies in a gully not far from the Yellow River) is considered by all practitioners to be at the source and origins of taijiquan. Chen Village is located in Wenxian county, east of Wen, Henan.
The history of Chen Style Taichiquan can be traced back to the legendary founder Chen Bu (1368? - ????), , 3Â2· , aa scholar and martial artists originally from Shanxi. He trained the village in a style that predated taichiquan, which allowed Chenjiagpu to bring peace to the region. The Chen family shifted to Henan province in 1374.
Famous proponents of the Chen style include:
Chen Wang Ting (1600-1680),3ÂÍõÍ¥ , an officer in the Ming Dynasty. He was considered to be the ninth-generation descendent of Chen Bu. He was credited as being the creator of the Chen Fist, broadsword and spear arts.
Chen Suo Le (1368-1644) the father of the twins: Chen Shen Ru and Chen Xun Ru.
Chen Jingbai (1796-1821) a famous armed escort in Shandong province.
Chen Chang-Xing (1771-1853),3Â3¤ÐË, credited with the creation of the "Old Frame" of Chan style Tai Chi. He was considered to be the teacher of Wang Zhongyue, Íõ×ÚÔÀ, also from Shanxi and Yang Lu Chan.
Chen You Ben credited with the creation of Xin Jia, or "new" frame of Chen style Tai Chi.
Chen Ching Ping (1795-1868) promoted the Zhao Bao Style.
Chen Kung Yuen a noted as the instructor of the household of Yuan Shi Kai (the last emperor of China).
Chen Miao (1841-1926) one of the best Chen stylist.
Chen Fake (1887-1957) the first person known to teach the Xin Jia (New Frame) system outside of Chen's Village.
The modern Chen style is actively promoted and practiced worldwide. The Chen Village is still the acknowledged centre of Chen style Tai Chi.
YANG FAMILY:
The style of Tai Chi most practiced today is the Yang Style. The origins and history of this style start with
Yang Lu Chan (1799-1872), Ñî¶ìø , studied and modified the Chen style into a new type of T'ai Chi. He eliminated the difficult jumps and leaps, explosions of strength, and vigorous foot stamping, and refocused training on the understanding of internal power.
Yang Pan-Hou (1837 - 1892) the eldest son of Yang Lu Chan and the teacher of Wu Quan You (Wu Style). He taught the style known as Guang Ping Yang taijiquan and developed a T'ai Chi form known as "Xiao Jia" (Small Frame).
Yang Chein Hou (1839 - 1917) is the second son of Yang Lu-ch'an.
Yang Shao Hao (1862 - 1929) is the oldest son of Yang Chien Hou.
Yang Cheng Fu (1883 - 1936) is the son of Yang Chien Hou. He is reputed to have taught hundreds of students and popularized Taiji throughout China
Additional information on the history of the Yang style is available in the next section. The Yang style is popular because of its compact form, its grace and beauty of movement, and the ease with which it can be practiced. It has caught on in other parts of the world as well, with Yang-style taijiquan clubs and associations springing up everywhere.
OTHER STYLES:
There are many other T'ai Chi styles that vary in principle, form and function. We will describe the main styles that are popular today, but you should note that many other styles and practitioners have not been documented.
Wu Yu Xiang (1812-1880) was a native of Yung Nien, the home County of Yang-style founder, Yang Lu Chan. He later went to Chen village to study with Chen Qing Ping of Zhao Bao Village.This style is characterized by compact, rounded, precise, and high standing postures.
Li I Yu (1832-1892) learned the art of Taijiquan from his uncle Wu Yu Xiang. Li Style had the characteristics of the small frame Wu Style, but also some similarities with the medium frame Wu Style.
Hao Wei Zhen (1849 - 1920) was a student of Li I yu. Hao Style used a fast form to teach the students to recognize and apply power.
Sun Lu Tang (1861-1932) learnt taiji from the Hao Wei Chen. He developed a new style by combining taiji principles with his knowledge of Bagua and Hsing-I. Sun's taijiquan teaches high-standing posture and emphasis on opening, closing and active stepping.
Wu Jianquan (1870-1942) a student of Yang Lu Chan and Yang Pan Hau. He popularized a style known as Zhong Jia" ("medium frame"). This style is popular in Hong Kong and South East Asia.
Tung Ying Chieh (1890-1964) was a student of Yang Cheng Fu and Li Xiang Yun. He created the Tung family taichiquan and teaches a fast style of T'ai Chi for advance taiji practitioners.
Ching Men Ching (1901-1975) was a student of Yang Cheng Fu. He was instrumental in promoting T'ai Chi in North America. He taught a modified form of T'ai Chi with 37 moves, which is now known as Ching Men Ching style.
MODERN PERIOD/SYNTHETIC STYLES:
Since the founding of New China, taijiquan has undergone unpreceden-ted development. Physical culture workers and medical personnel in China have collected works attributed to and studied various schools of taijiquan, and special hanging charts, books and musical compositions have been published.
In 1956, the Chinese State Committee of Sports simplified the Yang Family Style into 24, simplified forms. This series was edited to progress logically from the easy to the difficult, and takes five minutes to complete. " Simplified Taijiquan" is promoted as a health exercise and is a National standard for China.
The Chinese government continued to standardize the practise of T'ai Chi by promoting modified forms based on the synthesis of the major T'ai Chi styles. The current forms include
Simplified Yang Style Taiji Quan in 24 Forms
Yang Style Taiji Quan in 40 Forms
Yang Style Taiji Quan in 72 Forms
Taiji Quan in 42 Forms
Taiji Quan in 48 Forms
Taiji Quan in 58 Forms
Taiji Quan in 66 Forms
Chen StyleTaiji Quan in 56 Forms
Wu Style Taiji Quan in 46 Forms
Sun Style Taiji Quan in 42 Forms
More demanding and varied in content, these new sets of taijiquan can also include several traditional dual training exercises, such as hand pushing and counter-pushing, sword fencing and combat with other weapons.

Fighhting style: Wu Shu -gathering of various chinese martial arts
Wushu is a great martial art with roots dating back thousands of years in China, and has been recognized as an ancient Asian art for the self discipline of mind and body. Wushu is the Mandarin Chinese word for "martial art," and is the term used in China. Westerners are more familiar with the term Kungfu, which actually translates roughly into "skill," and was popularized by Bruce Lee and Shaolin Temple movies.
Wushu is generally categorized into three types. The first type is Long Fist (Chang Quan), also known as Shaolin style; and the second type is Traditional Fist, also known as Traditional Kungfu. The third type is Tai-Chi (Taijiquan), an internal style.
Long Fist includes both Shaolin fist and weapons (Bingqi) such as sword, spear, staff, and saber. Other weapons, often known as "soft weapons" include the sectional whip chain (7 or 9 sections) and the rope dart. Long Fist is the foundation for all of the traditional styles of external Wushu. These styles include monkey, tiger, snake, mantis, and eagle claw styles and so forth. Traditional fist, on the other hand, emphasizes the fighting techniques of one style.
Tai-Chi, unlike external kungfu, is based upon unifying the chi or energy of the body. While the internal power generated can be used as a primary tool for self defense, most Tai Chi practitioners focus on the health benefits the art provides. Another internal Wushu style is Baguaquan.
Through many years, Wushu has developed international acceptance as an excellent enhancement to health. The practice of Wushu provides an excellent release of stress through self discipline in breathing and meditation. The practice also demands skill, concentration, and consistent and dedicated effort. For those who persevere, the rewards are great: strength in mind and body, and the development of physical, mental, and spiritual resources.

Wu Shu, continuing...
What are the different styles of Wushu?
Chinese Wushu* has many different styles which, if traced back through the lineage of masters, seem to start in the Yuan, Ming and Qing dynasties. The categorization of these styles varies greatly. For example, some say Wushu falls into "Southern Style", "Northern Style", and "E Mei Style"; others say the division should be "Yellow River Style", "Yangtze River Style", "Zhu River Style"; some say the styles fall into internal and external styles, ... Moreover, within each style, there are many forms. In 1984, there began a national research program to excavate all the styles of Wushu so that, at present, the history of Wushu has been clarified, the styles have been delineated and specialties identified. Over 128 styles have been recorded.
Why are there so many different weapons in Wushu?
The weapons used in Wushu play a central part in the Wushu forms and culture and have likewise gradually developed over time. Every weapon has a characteristic period, place, material, and use associated with it. Wushu contains a dazzling array of weapons which play different roles in various styles. According to the style and school in which it is used, every weapon has a different method of use and application. Through constant usage and mastery one can appreciate how one's specific mood, personality and environment all demand certain special characteristics of a weapon, hence the large number of different weapons used in Wushu.
How is Wushu related to other martial arts?
As with other branches of Chinese culture, Wushu, upon introduction into other cultures, mixed and adapted to those cultures. It's easy to see! As a matter of fact, Japanese Judo has its origins in China. At the end of the Ming Dynasty, Chen Yuan Yun left China and voyaged to Japan , where he settled in Guo Nei Temple. There, he gave instruction in how to catch criminals and convicts, but essentially this was teaching Chinese Wushu. Today, we can trace back the lineage of Tokyo Japanese Roushu back to Chen Yuan Yun based on inscriptions in tablets . Japanese Karate also has its origins in China. In fact, it quite clearly is a derivative of some styles of Nan Quan (Southern Style). Zong Dao Chen, having studied Shaolin Temple Style upon returning to Japan initiated a hybrid of Shaolin and local styles. The extensive Shaolin Style over the past thousand years has acted to bring together many different styles into new ones. But such fusion of styles is not ablsolute; the exchange of different cultures, styles and forms throughout history is, one could say, without end. Isn't Chinese Wushu a clear example of this?
Who can learn Wushu?
Wushu is for everybody! Old and young, male and female, all can learn! More specifically, according to one's age, physical health, and other qualities, one can choose an appropriate style and form of Wushu to practice.
*For example*:
1- Older people can study Taiji (or Taichi) in a number of ways .
2- Younger people can begin a more rigourous training emphasizing speed, jumping, acrobatics, and athletic power.
3- Children are the most suitable for studying Wushu because in the early years, the body responds, adapts and grows in step with one's practice. I myself have been practicing from early childhood, a fact which even today runs deeply through my practice.
To read some stories from my own practice click here.
Why is it useful?
If you want to practice Wushu correctly, you must follow the ancient Chinese proverb: " Before you study art, study etiquette. Before you study Wushu, study manners," which is to say that to study Wushu one must study the customs, be polite, respect your elders and take care of children, be humble and prudent. You must adjust your behavior here and there, little by little, and only then are you doing your best to practice Wushu. Through practicing Wushu, one can improve one's body and immune system, agility, muscle balance, reflexes; and at the same time strengthen your mental will and confidence, determination, bravery, spirit of challenge, resistance to submission, and drive for success.So now that you see Wushu has so many beneficial sides,why don't we all practice!?!?!
*The term "Wushu" is synonymous with "Kung-Fu," "Gong-Fu," and "Chinese Martial Arts."

Fighting style: Crane/White Crane
Used by: Shang Tsung
Used when: MK Deadly Alliance
Fujian White Crane Kung Fu, once known as Tiger Crane Combination Kung Fu has been taught by Chief Instructor Dennis Kah Swee Ngo since 1979. He has been training in this style for over 35 years. Kung Fu is his first love, but he has achieved black belt status in some of the Japanese arts as well.
Official research in China has traced the origins and history of the White Crane style of Kung Fu. The founder of the style was Fan Qiang Liang daughter of a famous Wushu Master. They moved to Fujian province after the death of her mother In the best tradition of kung fu her father died defending her honor from unwelcome suitors. Only seventeen at the time . she vow revenge, joining a temple as a nun.
It is said that during this time she dreamt that she was fighting a white crane but it evaded her attacks easily, using its powerful wings to strike back at her . After the third night of this dream she realized that she should adapt her fighting style to incorporate the crane agility and grace. It’s ability to strike quickly and accurately.
After she married a student and moved to Yongchun county in Fujian Province, Fan Quiang Liang became a famous master . Her students/disciples later became the masters who developed the five styles of Fuzhou White Crane system. Her students spread the White Crane style and its derivatives throughout China, Southeast Asia, and to Okinawa.
This style comes from the Yong Chun district, in Fujian Province, China. Fujian Province is famous throughout China for its flamboyant, fierce and efficient White Crane Kung Fu styles. For the sake of simplicity it is known as Fujian White Crane Kung Fu in the West. It is the complete system of White Crane. (The tiger stance providing a strong base for the more flamboyant hand techniques of the crane. )
Traditionally, this style was taught slowly and solidly, with heavy emphasis on stance and footwork. Mr Ngo strikes a careful balance by staying true to the traditional principals of the art whilst tailoring it to suit the culture and people of the new millennium. The art is taught hard and fast. Heavy emphasis is placed on discipline, building a strong healthy body and developing the confidence to be both polite and humble. Students are taught to fight properly so that they can appreciate the value of life and the sanctity of each person's body
Moral discipline is pressed upon students from the very beginning to help them cope with the responsibility that the deadliness of the art places upon them.. You have to go through many growing pains to achieve any real gains. In order to gain control over yourself you have to bring forth your temper, only then can you learn to control it and use it positively. The promise made between the Chief Instructor and the students is that the art will be taught properly and learnt diligently.
The Shaolin Crane
Crane - as long as everyone agrees, as long as everyone is happy.
The Crane represents the nurturer, mother and protector from the 4 animals. It first seeks to find the most/best solution for all concerned before it seeks to have it's own needs satisfied. It is like most mothers the martyr, caring for it's flock and putting the families existance, the groups well-being, the health of the unity before it's own.
The Crane is graceful, light, well balanced, patient, watchful, never attacking. It is armed with claws at the end of long feet which gives it a long reach as well as a sharp long beak. The Crane never attacks but just evades; and if it thinks that it is safe and appropriate it will teach, finding a point to counter, an obvious vital spot like eyes, ears, nose, crown of the head and anything else that is suitable for it's light long claws and sharp strong beak
Caring, teaching, protecting, graceful, the crane would never seek to attack and would ensure that who ever it is dealing with would be able to make their point first, putting their consideration and needs before seeking to have it's own needs satisfied. For the Crane seeks to guide, support and help all in achieving their needs and thus fulfilling their own needs.
Strategy
The Crane does not attack only counter attacks. It would do this from any angle except the front. It would always side step the attack, possibly using it's wings to mask the movement, change direction again, possibly to deliver a technique to the attacker. It is a master of evading supported by blocking and redirection. It would seek to frustrate it's opponent, helping it to defeat itself.
The Crane uses any technique that causes no permanent harm. It's preference would be annoying techniques, energy sapping strategies (like water wearing down rock) rather than a single blow or finishing technique. It would seek to give it's opponent the ability to stop and reflect on the consequences of it's aggression, seeking to teach/show it the error of violence. For this it would - like a mother or mentor - seem to be cruel to be kind.
Techniques
Yang - The Crane would do mainly leg work with kicks not requiring a lot of strength, but which would cause pain without permanent damage. The hands would be used for distraction and ocassional 'Cranes Beak' (5 Finger) technique. Hands would also be used for blocking, not to divert the techniques but to move it's light and agile body around the attack. The kicks would mainly be direct, flicking and surprising, both from technique and where they would be applied.
Yin - Chin Na (Aikido) like wrist locking and redirecting, using the feet for distraction, movement and occasional redirection and blocking. The wrist locks would be increasingly painful, but would not cause permananet damage. If the attacker is persistant the Crane may choose to cause loss of conciousness through application of extreme pain.
Forms
There are a number of Crane forms in Liang-I Shaolin Kung Fu including;
The Graceful Crane (Flow and Grace)
Iron and Silk Crane (Form of Changes)
The Raptor Crane (Twin Swords)
The Dancing Crane (Movement and Interchange with Fans)
The Flying Crane (Slow and Deliberate)
The Directional Crane (Change of speed, direction and height)
In Life
You are a Crane if you prefer to have everybody air their ideas and opinion; get everyone behind the decision, have all working together. If you seek to maintain a stress free people environment where all are happy working/playing/living/partying together. if this is even more important than achieving goals and targets; and if you think that the most important aspect of life is Friendship, being with people and enjoying each others company then you are Crane Dominant. (this is not to say that you do not use the others).
You are best as a mother, social organizer, mediator and (ideal) diplomat! You have strong focus ability never losing site of what you want but never making this obvious or achieving this to anyones detriment. You are also a true and honest teacher, mentor, sifu, guardian and family person who will do all to ensure the survival of the group/family/company . .

Fighting style: Snake/Shaolin Snake
Used by: Shang Tsung
Used when: MK Deadly Alliance
Snake - precision, order, wisdom.
The Snake is a symbol for many things. It is blamed for Adam and Eve's banishment from Eden yet is the Symbol of Doctors.
Snakes have figured prominently in the religions, customs and folklore of people throughout the world. To early humans, snakes must have possessed seemingly magical, almost supernatural attributes. They had the ability to move without legs over and through all types of terrain, vegetation and water. They had the ability to find, capture and eat prey without the aid of appendages, as well as to periodically shed an old skin and the ravages of time to reveal a new, brightly hued mantle. They could arise in the spring, resurrected from the ice of winter, and, in a few cases, could cause sickness or death with a single bite. A science fiction writer could scarcely ask for a better model, so it is not surprising that snakes gave rise to all manner of tall tales and myths. It is also not surprising that a Snake is one of the 5 Shaolin Animals.
The Snakes ability to move quietly and invisibly, it's need for blinding speed and precision makes it the perfect animal to be the symbol for . . Speed and Precision of the 5 Animals.
Strategy
The Shaolin Snake is the beurocrat, the keeper of knowledge and wisdom. It is the style that likes things ordered and predictable. It is a very unimaginative style that focuses on simplicity, speed, accuracy, knowledge and timing.
Snake uses very simple, straight and Snake (s bend) techniques both for the hands and legs. Generally aiming with a toe or one finger at a specific target that the Snake practitioner has identified for their current opponent. This will then be executed with minimum energy usage. For the Snake Style is that of a single, accurate, very high efficiency strike or kick.
The Snake style practitioner is never the attacker (much like the Shaolin Crane). It waits patiently for the right moment, the right spot, the right 'opportunity' for it's single, precise attack. It does not use any style of blocking but relies on it's agile body and quick reflexes being enough to avoid any contact what so ever. The Snake allows only one contact and that is it's attack.
To practice Snake Style the practitioner must spend a lot of time working on accuracy and precision. He/she must be 100% in timing, distancing, effort, target and opportunity. They may use some distracting, swaying motions, occasional feints (each executed as if it were a real attack, which it could be) but that is as complex as it gets.
Techniques
They also need to have the best possible knowledge of the human body for use with Poison Hand techniques, and in the old days Dim Mak!
Liang-I Shaolin Kung Fu though chooses not to teach killing techniques for any reason, though three main reasons are;
None of the Liang-I Instructors have any experience killing anyone! And this would be the only way to know if such a technique works as no theory can replace this.
No person coming to Liang-I Instructor level would have any wish to learn killing techniques (otherwise they would not have made it thus far.
Forms & Drills
There are only three Snake forms (currently) in Liang-I Shaolin Kung Fu;
The Gliding Snake (Basic and Movement Form)
The Coiling Snake (34 points, walking the circle)
Snake Spear (Simple, repetitive form)
There are though 15 exercises that need to be passed for the completion of the Snake graduation. Five each, Speed, Accuracy and grappling exercises!
In Life
You are a Snake if you like order, procedure and predictability. You believe that experience and wisdom are important and should be built on. You like using tried and true methods but may be open to improvements. Your best friends are tangible facts and figures that to you prove the reality of the world. You are most likely to say, there is what you see and all else is perception.

Fighting style: shaolin tiger
Tiger - this is right - Just do it now
The Tiger is the lord of the physical realm. It is the King of the Animals (Chinese did not know of Lions until about 10 centuries ago and used the Tiger as the King of Animals), king of the mountain.
The tigers natural, easy fluidity hides its ferocious power and dominance. Armed with deadly claws, sharp and strong jaws, the Tiger style is one of Simplicity, Directness and Power. Very simple, honest and direct strategies valuing truth, honor and justice above all.
Dominating, controlling, powerful, frontal, larger than life, Tigers rely upon their size and the explosive force delivered by their short, thick muscles, clarity of mind, rightness and purity of spirit to achieve their needs and wants.
NOTE - There were 8 different Tigers in existence before last century http://www.tiger.to/aft/index.html
The Sumatran Tiger (Panthera tigris sumatrae)
The South China Tiger (Panthera tigris amoyensis)
The Siberian Tiger (Panthera tigris altaica)
The Bengal Tiger (Panthera tigris tigris)
The Indochinese Tiger (Panthera tigris corbetti)
The Javan Tiger (Panthera tigris sondaica)*
The Caspian Tiger (Panthera tigris virgata)*
The Bali Tiger (Panthera tigris balica)*
Three of the Tiger Familys are now extinct and there are only some 10,000 tigers left in the world, both in the wild and in zoo's. It seems that the three main reason for killing tigers are;
For Trophies
For Fashion, clothing and decorations
Traditional Chinese Medicine
Make your own thoughts about that next time you buy an 'interesting' animal product. For more information on Tigers i recommend you go to; http://www.tiger.to/aft/index.html
Strategy
The Tiger does not need to defend, it is the ultimate predator. It has no evasion techniques, no blocking or defence. In any confrontation it leaps into attack going for the quick and direct resolution of the conflict.
The Tiger uses any simple and direct approach. It's techniques and methods are easily understood with not a lot of strategic thinking or planning; and absolutely no preparation. The Tiger is purely reactive. Either the world is OK or the Tiger will do something immediate and sudden.
Techniques
Yang - Round punches and kicks (Tiger Tail, Roundhouse, Whirlwind) with, round, downward clawing techniques, including the famous Tiger Claw (hu zhua) technique from which whole styles have developed. The techniques are in fairly large, wide and circular motions, much like a big cat swiping.
The back legs of a Tiger are powerful and lend themselves to straight kicks, knees and Axe kicks.
Yin - Digging the claws in to the meat and separating tendons, muscles from bones with pulls, twist, tears, or strikes.
The Tiger has also a playful side that may seem to be wanton but serves to prepare it's young for real life.
Forms
There are a number of Tiger forms in Liang-I Shaolin Kung Fu including;
The War Tiger (Sparring Form)
Tiger and Crane (Wu Shu form)
Golden Lion (beginners form)
Resting Tiger (Isometric Form)
The Tigers Pride (2 Person form)
The Tigers Claw (Weaponry - Trident)
The Tigers Tooth (Weaponry - Broad Sword and Shield)
The Wise Tiger (Tai Chi style form)
The Tigers Eye (Multiple Attacker form)
In Life
You are a Tiger if you prefer immediate action, clear solutions and paths. In a group situation you would prefer to lead and define the direction. Your main tools for this would be linear logic and information together with a good dose of instinct and intuition (gut feel). You may have problems appreciating slower less direct actions by other people, you will have great problems if there is another Tiger in the Group (especially if you or this person are passive aggressively inclined) and may not have the scope for planning, visioning and problem solving.
You are best in emergencies where action is needed now, when a quick, effective solution is best and a long drawn out plan or discussion not possible. When immediate self, family or friends safety are threatened. You are also best when you go with your instinct, just consider consequences and compassion!
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Fighting style: panther
I think that one of Nitara's styles translates to Panther
The Panther- there are bigger issues at hand then just the immediate success.
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Black Panthers are great athletes and excel in jumping and tree climbing. It can jump up to 8 meters and as high as 31⁄2 meters. The cat is very powerful for its size. It often attacks prey that is larger and weigh more than itself. For this reason, the black Panther’s neck and shoulders are massive. The black Panther uses its powerful leg, neck and jaw muscles to carry a kill up into a tree. Only the Tiger and Lion are larger cats than the Black Panther!
As a hunter, the black Panther is a stalker, not a runner.
It walks slowly and creeps very close to its prey. Stalking may take hours. The black Panther is silent and cautious. Its padded paws are soft and quiet, while the hair on its legs absorbs noise. The black Panther’s coat allows it to blend in with the jungle background. More importantly, its prey cannot see the black Panther. Because of its quiet style and its ability to stay hidden, the black Panther is known as the "Ghost of the Shaolin Animals."
The black Panther has sharp eyesight and night vision. It also possesses a keen sense of smell and hearing. After a kill, the black Panther will eat what it wants and will hide the carcass in a tree and will return to eat it later. When it finishes eating, the cat spends hours scrubbing itself with its tongue. It cleans itself until it is free of the prey’s scent. That way other animals cannot smell the black Panther, and it can get close enough to another prey to catch its next meal.
The Shaolin Black Panther emits a great power, not tense forceful power of the great cats but a power from loose, relaxed, whip-like movements, which are generated by superb speed and balance, coupled with limber waist and hip-based movements. It is a midway between the solid, massive strength of The Shaolin Tiger Style (see the Shaolin Tiger Style) and the quick penetrating force of the Shaolin Crane (see the Shaolin Crane Style) .
The Shaolin Panther style develops all aspects of it's being equally as it is a many sided creature.
Strategy
The Panther Style chooses the time, place and style of confrontation/meeting. It is in command of any situation, not by brute power but by the breadth of it's skills, abilities and cunning. It never does the expected unless that is the last thing you would expect expected.
The Panther can attack from any direction, with any technique at any time in a hit and run fashion. It is always well prepared, well informed and always surprising. It likes causing confusion for use to it's own advantage. It would never attack frontally unless that is where it is not expected.
As a Style is has the greatest amount of technical expertise, widest range of techniques used in the most impossible way. It is always the attacker, never the attacked. What ever you expect, expect 1 million other possibilities!
Panthers are the most complex of the 4 Animals with the most varied and interesting strategies, habits and solutions. Techniques
Yang - The panther seeks quick and easy resolution and would use any means at it's disposal. Any technique, any defence, any strategy any, anything but in an unusual way and unexpected manor.
The Panther would use and know every technique that there is to know and know it well. It would also know how to apply these techniques in unusual, interesting and Sometimes impossible methods. It would be equally comfortable with all kicks, strikes, punches, blocks and stances, using them all to it's favour and reckoning.
Yin - It is the master of close quarter conflict, (elbows, knees, shins, forearms and head), seeking to set it's opponents in an uncomfortable and unfamiliar, setting and environment.
Techniques: In Liang-I Shaolin Kung Fu Panther forms are
Hunting Panther (staking, quick action, recovery)
Stalking & Striking Panther (multiple attacker)
Chaos Panther ( . . .)
Black Panther/Fire (Speed and Accuracy)
The Panthers Lashing Tail (Whip, 9 section staff)
Drunken Panther (Deception, Misdirection and control)
In Life
The Panther Stylist is best for difficult situations, when views are totally opposing, when there is an impasse. It is about lateral thinking, where a win-win is not possible, where a solution needs to be found where it seems a solution is not possible. In a group situation a Panther would only contribute when it feels that it is valued and a simple solution will/can not be found.
When goals are important, but not worth the effort or potential disruption of more assertive modes
When opponents with equal power are committed to mutually exclusive goals
To achieve temporary settlements to complex issues
To arrive at expedient solutions under time pressure
As backup when collaboration or competition is unsuccessful
Panthers are not easily understood. They have a broader, wider and more through view than most but are not always able to convey this to the common person. They do not like each others company but need it occasionally. They are best within a team Panther if they have a fee hand at contributing in their own way.

Abilities, Skills and Knowledge
Below you will see the ASK Matrix dividing relevant Abilities, Skills and Knowledge and to what degree that animal aspect of the 5 Animals uses it. This should show how the 5 Animals work together in a Master practitioner to make a whole, complete style:
Tiger
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Strength: total
Speed: High
Agility: Normal
Focus: Medium
Tech-Variety: Low
Panther
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Strength: High
Speed: Medium
Agility: High
Focus: High
Tech-Variety: Total
Crane
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Strength: Medium
Speed: High
Agility: Total
Focus: Total
Tech-Variety: Medium
Snake
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Strength: Medium
Speed: Total
Agility: High
Focus: Normal
Tech-Variety: Low

Fighting style: Hung Gar
Used by: Reptile, Baraka
Used when: MK Deadly Alliance, MK Deception
Brief history:
The founder of the Hung Gar style was Master Hung Hee Goon, a famous boxer who lived in the late 1700s. Although his school is popularly known as Fu-Hok Pai (Tiger and Crane style), the origin of this fighting method goes back much farther into time.
According to legend, a Shaolin master of the Tiger Claw style was out in his garden one day. Spotting a crane pecking away at his newly planted vegetables, the priest grabbed a stick and tried to chase the intruder away. The bird, however, eluded each swing of the stick. At one point, the crane leaped up into the air and the surprised monk found himself the victim of a furious counter-attack. Using its sharply pointed beak as a weapon, the crane became a formidable foe. The priest made a complete study of the crane's behavior and learned how this frail-looking creature would respond to various types of attack. By imitating these movements, a series of new fighting techniques based on fluidity, gracefulness, and sharp pecking attacks was developed. Combining these unusual crane tactics with his dynamic tiger claw techniques, the Shaolin monk devised a new and highly effective method of combat.
In the 18th century, Shaolin boxer Hung Hee Goon acquired this unique system based on the tiger and crane. Boxer Hung had been schooled in the teachings of Chee Sin, a master of the "Long-Hand Art," and Fong Wing Chuen, and expert of the "Short-Hand Art." To the knowledge that he acquired from these two Shaolin priets, boxer Hung added the tiger and crane techniques, creating the Hung Gar (Hung's Family) school of Gung Fu.
Skillful boxers of the Hung style have been described as powerful and swift, with a solid, immovable stance. The Hung system uses a combination of short-range tactics (prized for their defensive value) and long-range movements (good for offense). Blocks and counters should have the striking power of a sledgehammer. Like the fluid and graceful crane, however, firmness must be complemented by softness and softness by firmness.
With a history of more than 200 years, the Hung style has been one of the most popular methods of Gung Fu practiced in Southern China. In later years, a famous boxer named Wong Fei Hung systemized the tiger and crane movements into several formal exercise patterns. Known as Fu-Hok Sheong Yin Kuen, these tiger and crane routines are a specialty and a vital part of our training program today.
Hung Gar Kung Fu: Hung Gar is a Shaolin offshoot from Southern China. The Shaolin Temple, while chiefly known for it's marital arts, was also known for harboring political refugees. This practice earned it the eternal emnity of the Chinese Emperors. According to legend, when the Emperor ordered the Shaolin Temple burned in retribution, one monk escaped the flames. His students went on to found many systems of Southern Kung Fu. Hung Gar literally means 'Hung Family' martial arts, named after Mr. Hung. In the south, Kung Fu was forced to change and evolve. The people and the land were very different. Many things which worked in the north were useless or even dangerous in the near tropical climate of the south. Southern China was an area of large cities, extensive canals and rice paddies. A Hung Gar practitioner would likely find his/ her self fighting in very close conditions with very little room. Usually the battles would take place in a flooded rice paddy, or in a small boat. Stability was the chief concern. Southern China was also very warm, and the people did not have to wear bulky cold weather clothing. This allowed them to use the natural tactile sensitivity of the hands and arms. Through training, a practitioner can 'listen' with his or her skin. This skill allows the adept to 'stick' to their opponent, riding his force like a surfer on an ocean wave. When this skill is perfected, the opponent can be made to defeat himself with his own strength. Hung Gar uses the legs chiefly for a strong stance. The masters were known for being impossible to take off their feet. What little kicking the style does is limited to targets at waist level or below. Hung Gar is a good choice for anyone wishing to improve their strength and conditioning. Hung Gar feels like weight lifting. There is a lot of muscle 'burn' but not alot of aerobic 'pump'. The techniques don't move around much, but they have the inevitibility and power of a falling redwood. The class focuses on the famous Tiger & Crane set, which utilizes the classical Shaolin animals: Tiger, Dragon, Snake, Leopard, and Crane. The Tiger is all about throwing around your body mass. It attacks in swinging arcs striking with the palms and claws The Dragon resembles the Tiger. The techniques are softer, less direct and more evasive. The Dragon is flexible, elusive, and can fly (i.e. jump). The Snake ironicly teaches footwork. It attacks in a linear fashion, like a snake striking. This animal covers Hung Gar's punching skills. The Leopard uses speed and agility. It's movements are nimble like a cat. The leopard uses sweeping leg movements and kicks while attacking with the arms. The Crane can softly evade and redirect the opponent's power. It is the least powerful but the softest and most precise. It slips out of the way, and attacks with precision strikes to vital areas.

Fighting style: Choy Lee Fut
Used by: Ermac
Used when: MK Deception
Brief History:
Master Chan Heung, the founder of Choy Li Fut, was born in the Kwang-Tung province of China on July 10, 1806. At the age of seven, Chan began to study Gung Fu from his uncle, who had trained in the Shaolin temple. Mentally and physically superior for his age, the young boy made rapid progress in the martial arts. By age 15, Chan was the leading boxer in his area. When he was 17, he studied under his uncle's senior classmate, a Shaolin expert named Li Yau Shan. Within several years, Chan had absorbed all the teachings of Master Li. One day, Chan's instructor said, "Your uncle and I spent 20 years in the Shaolin temple. It is unbelievable how you could master all that we know in only half that time. Any further instruction will need to come directly from a Shaolin priest. But most of these monks have disappeared from the area. The only one I know of is a wandering priest named Choy Fok. Unfortunately, he is leading a life of seclusion and does not like to be bothered." Yearning for further knowledge, Chan Heung decided to seek out the nomadic monk.
Arriving at Mount Lau Foo, Chan Heung searched until he was able to locate the Shaolin priest. Reading Chan's letter of introduction, Choy Fok said, "I gave up practicing martial arts a long time ago. So if you have come here to acquire skill and strength in boxing, I'm afraid that I cannot help you. I am just too old. The remaining years of my life are being devoted to a thorough research of Buddhism. You may stay and study our religion together if you wish." Instead of being discouraged, Chan Heung knelt down and humbly accepted the monk's offer to become a disciple of Buddha.
Although the study of religion took up most of Chan's time, he still maintained a high interest in the martial arts. In his leisure hours, therefore, Chan Heung continued to practice the Shaolin style of combat he had learned. One early morning, Chan was performing foot sweeps against bamboo stumps in a heavily wooded area. He also kicked rocks up into the air, smashing them to pieces as they fell. Suddenly the monk appears and asked, "Is that all you can do?" Pointing to a 50–60-lb. rock nearby, Choy Fok said, "Try your best to kick it up." Summoning all his power, Chan Heung Swept his foot against the rock and sent it into the air. Proud of his feat, Chan waited for the monk to show an expression of praise. Without saying a word, however, Choy Fok calmly walked over to the boulder and thrust his right foot beneath the heavy object. He spun around in a quick graceful motion and sent the rock flying more than 12 feet away. By now, Chan Heung realized that the priest still possessed some sort of super-normal power. Chan immediately asked the monk to teach him. Satisfied with Chan Heung's character and patience, the monk Choy Fok agreed and for the next eight years, taught his new student everything that he knew of Gung Fu.
At the age of 29, Chan left the monk and returned to his native village, analyzing everything that he had learned. Finally, in the year 1836, Chan Heung founded a new method of fighting. Chan named the system after his two instructors Choy and Li. The suffix Fut, which meant Buddha, was then added to pay homage to the Shaolin temple from which his predecessors had come. Chan Heung's fame as a boxing expert soon became known, and he was persuaded by village elders to set up a school in a nearby temple.
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Kung Fu/Gong Fu history
The origin of Kung Fu is lost in the pages of time. During prehistoric ages, the art of self defense was pretty much confined to man's own ingenuity. Throwing of rocks and wielding crude weapons such as clubs and stone axes were no doubt the earliest means of warding off primitive man's many enemies.
In China, however, crude methods of self existence gradually developed into highly refined methods of combat. Methods which reflected not only fighting tactics, but also the principles of psychology, physiology, medicine, physical therapy, and meditation. Unfortunately, a great deal of Kung Fu's history is obscure. Because dates and details are often contradictory, much of what we hear today must be considered legendary.
Many styles of Kung Fu revolve around the ideas of metaphysics and nature. Ancient boxing masters often developed their fighting techniques by observing the world around them. Animals, birds, and insects provided the basis for many systems of Kung Fu developed in the past. Other influential factors were the beliefs of Chinese philosophy and religion.
The soft style of Tai Chi Chuan, for instance, is rooted in the teaching of Taoism. In addition to its value as a means of self defense, Tai Chi is highly beneficial for the promotion of good health. Through its training, one can attain inner peace and a sense of physical and emotional well being. For this reason, Tai Chi is often called Chinese Yoga: the art and science of meditation through movement.
While the soft styles of Kung Fu derive their philosophy from Taoism, many of the hard styles trace their origin to the Buddhist monastery called Shaolin (Siu Lum in Cantonese). It was there that a mysterious Indian priest named Tamo established residence nearly 1500 years ago. According to legend, Tamo arrived at the Shaolin monastery where he found the monks in poor physical condition. Because of their inability to stay awake during meditation, Tamo introduced a series of 18 exercises designed to nourish both body and mind. These therapeutic movements are said to have merged with self-defense tactics studied in the Shaolin Temple. During his stay there, Tamo is also credited with introducing the Buddhist philosophy of Chan (Zen in Japanese) into China.
The next major development supposedly occurred in the 16th century, when a wealthy young man named Kwok Yuen entered the monastery to study their methods of boxing. A skilled swordsman, Kwok Yuen not only mastered the Shaolin art, but expanded its fighting patterns into 72 exercises. Still yearning for greater knowledge, he left the Temple and traveled throughout China in search of other boxing masters. Eventually, he met two other experts: Pak Yook Fong and an old man named Li. The three retired to a monastery, where the 72 movements of Kwok Yuen were increased to 170. These techniques were then classified into five different animal forms: the dragon, tiger, leopard, crane, and snake. Thus was born Shaolin Kung Fu's "Five Form Fist."
Although many details of the Shaolin art are not clear, records indicate that priests from the Temple proved themselves formidable fighters in many historical battles. Down through the centuries, therefore, the name Shaolin became renowned for the skill of its boxing monks. Behind the Temple walls, self discipline augmented technical skill. A rigid code of ethics was established to improve the caliber of Shaolin boxers. In addition to the development of fighting skill, therefore, humility, prudence, patience, and dedication became equally important in the Shaolin way of life.
According to popular belief, boxers could only graduate by passing a harrowing life-or-death examination. The candidate was sealed in a specially designed labyrinth, which had only one exit–the front gate of the Shaolin Temple. As he worked his way through this maze, the boxer encountered deadly traps, armed dummies, and other lethal devices, all triggered mechanically. If he succeeded in reaching the exit, the potential graduate came face to face with one final obstacle–a huge red-hot urn. To gain his freedom, the Shaolin disciple would need to wrap his forearms around the smoldering object and move it aside. In so doing, he received on his forearms the formidable seal of two dragons–the sign of a Shaolin graduate.
For century after century, the secrets of Shaolin Kung Fu remained hidden within the Temple. When China was conquered by the Manchus in the 17th century, officials and supporters of the defeated Ming dynasty sought refuge at the monastery. Fearful of a possible uprising, the Manchu government launched several attacks on the Temple. During the final attack, legend says that the monastery was burned to the ground. Boxers who survived this raid, however, established new lives in the outside world, and in so doing, propagated the Shaolin art throughout the four corners of China.

Does anyone know if phoenix eye is useful without trainin of internal energy... i am learning it and i am not too sure if i can master the internal aspect of it. punchin vital points is one thing. Breaking a chair with a knuckle is another..

Wing Chun must be the best i think. Becus Jackie Chan and Bruce Lee, Jet Lee are masters at this. And in MKD Dairou isent even using the right punching System when he hits. Just look at this fot work when he hits

At last some lifesigns in the thread. Yes, I noticed that thanks, Dairous
footwork was imterpreted correctly in the game. I canát say that about the
most of the warriors.
What atr would you like? I need to continue this thread.

why not discus some stykes which utikise power hitting. As in styles like dragon which use phoenix eye or karate which uses iron palm. I am sure there are others out there...

umm, dragon is not an independent style, but an aproach of mastery to the four animal styles: tiger/lion, panther, snake, crane.
You mean that: more strenght founded into the strike than finesse?
Iron palm/tameshiwari is a little different. But the typical more strenght than precision is found in baranta, and the classical medieval wrestling.

I was referring to power precision strikes like iron palm and phoenix eye..

OK, heres what I found about power and precision strikes, this is interes-ting, since theese terms were quite reknown in greco-roman, or even in archaic greek pancration.
Fighting style reanalised: Pankration
Pankration, pronounced in its modern derivative as "pan-cray-shun" as opposed to the classic "pan-grat-ee-on", is an ancient Greek combat sport dating back over 2500 years. Modeled after an earlier battlefield form called panmachia (Gr. "total fighting"), it was the cornerstone of the very first Olympic Games. It would vanish over time due to various factors until its revival as a mixed martial arts system geared to both street-fighting and competition in the late-1960s by Grandmaster Jim Arvanitis. World recognized as the "Father of Modern Pankration", Arvanitis made it his life's work to rebuild the concepts from what little remained of Greece's legacy. One of the earliest advocates of cross-training, Jim combined his extensive background in boxing and wrestling with techniques he extracted from other styles. The integration of these conceptual and technical elements became the foundation of Modern Pankration.
The rebirth would find its way to its native homeland in the mid-1990s as well as to many other parts of the world. Pankration is translated to mean "all-powers" and consists of all methods of striking and grappling including open hand blows, punches, kicks, elbows, knees, takedowns, throws, sweeps, and submission holds (joint locks and chokes). Equal preference is given to both upright fighting (ano pankration) as well as ground combat (kato pankration). History shows that many of the martial arts styles practiced today such as karate, kung-fu, jujitsu, etc. may have been influenced by this combat form of antiquity due to the conquests of Alexander the Great.
The Spartan Academy is an exclusive palaestra (Gr. "school") specializing in both sport and battlefield (street) pankration. It offers both short-term and continuing programs in Jim Arvanitis' system of contemporary Greek combat.
Key Points of Modern Pankration
Tactical positioning both upright and on the ground.
Elusive Mobility: Light, shifty footwork and body maneuvering to bridge the gap for explosive attacks and providing a difficult target to hit or grip.
Emphasis on attack.
Totality: Fluid integration of striking and grappling techniques. No stylized partiality as to one method over another. All ways and means are employed to terminate the conflict.
No rigid, passive defenses. Subtle parries and evasions rather than hard blocks.
Efficient techniques based on simplicity and economy of motion. There are no wasted, complicated movements.
Low-level kicks (below the waist). High kicks expend more energy and jeopardize balance.
Penetrating strikes: Hit through the target, not just at it.
Fights often end on the ground! In this position, one must be able to effectively defend and attack with strikes and submission skills.
Adaptability: The ability to instantly adjust to all possible angles, ranges, and circumstances encountered in combat.
The use of leverage and body force in all striking and grappling techniques rather than mere arm or leg strength.
No "fixed" forms. Applicability as opposed to memorized response. Productive learning is spontaneous and requires complete freedom of expression!!
No formality or rituals. The hereteesmos (salutation) is used at the start and end of class, or prior to sparring.
Continual promotion of physical fitness through scientific exercise and diet.
Use of specialized equipment to develop the striking tools.
Realistic interactive drills including ground grappling and sparring with contact to closely simulate actual combat conditions.
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Course Content
ANO (UPRIGHT) SKILLS
Readiness Position (thesis machis)
Combat ranges
Footwork and Mobility
Precision Strikes
Punching Tools (pymis)
Kicking Tools (laktisma)
Elbow Strikes (agkohnizein)
Knee strikes (gonatizein)
Clinch Fighting (hamma)
Throws, Takedowns, and Sweeps (rassein apaly)
Joint Locks/Destructions
Chokes/Cranks
Defensive Blocks
Parries
Evasions
Leg Shoot Defenses
Combat Strategies A. Combinations
B. Setups
C. Counters
D. Transitions (standing to ground)
Training Methodology A. Conditioning Exercises
B. Skiamachia (shadow-fighting)
C. Equipment
1. Heavy bag (korykos)
2. DEB & speed bag
3. Focus gloves
4. Impact pads
5. Grappling dummy
D. Sparring (contact and protective gear)
KATO (GROUND) SKILLS
Top Control Positions
Ground Strikes
Leg Scissors Techniques
Submission Arm and Leg Locks
Joint Dislocations
Finger Locks
Chokes and Neck Cranks
Throws and Sweeps
Spartan Tactics
Passes, Reversals, and Escapes
Training Methods A. Conditioning Exercises
B. Breakfalls
C. Spinning Drill
D. Partner Drills
E. Free Rolling
F. Sparring
CORE" TECHNIQUES
Includes all classic skills of original Olympic pankration such as klimakimos, gastrizein, piheo anhin, saroma, systasis, parathesis, etc.

BRIEF HISTORY OF MARTIAL ARTS STYLE:
STYLES
Perhaps nowhere is the great diversity of human thought more evident at first sight than in the world of the martial arts. The complex tapestry of humankind is intricately mirrored in the martial arts.
In trying to comprehend this, we start by attempting to understand what is meant by "style."
When martial artists are introduced, one of the first questions asked is, "What is your style?" In a way, it's like asking someone what their religion is, or whether they are conservative or liberal in political persuasion. We tend to want to put people into "boxes" when we think of them, and once we identify a box for them, we are quick to lock them into it. Unfortunately, putting people into boxes, or hanging labels on them really gets us no closer to truth and understanding than having no knowledge whatsoever. In the martial arts, the generic descriptive for these boxes is "styles." So, a martial artist might answer the question by saying "My style is Tae Kwon Do, and I am a fourth degree Black Belt. My instructor is Mr. Lee." If the listener is experienced in the martial arts, he knows that Tae Kwon Do originated in Korea as an amalgam of several traditional Korean foot fighting styles, melded with techniques and concepts garnished from Korea's neighbors in Asia, to include China, and Japan. Tae Kwon Do practitioners are characteristically superior kickers, and are trained to project indomitable spirit, but are not nearly as sophisticated in the application and use of hand techniques as they are with foot techniques. Tae Kwon Do practitioners often have extraordinary jumping ability, exceptional endurance, and an abundance of confidence in their hard earned skills. Of all the martial arts styles, Tae Kwon Do is perhaps the most successful in terms of having established schools and teachers in virtually every major city in the world. Their growth has been phenomenal, and possible reflects the formal support of the home country government.
Virtually every style has its "story." Funakoshi, founding father of Shotokan, was an expert of Okinawan styles when, through chance circumstance, he was invited to demonstrate his skills on the main island of Japan. The diminutive Funakoshi possessed extraordinary skills and won acclaim, respect, and acceptance throughout Japan. His great skills came to the attention of the Emperor himself, at whose request, Funakoshi remained in Japan, where he formalized, cultivated, and propagated his art of Shotokan. Today, many proponents view Shotokan as a Japanese art, rather than an Okinawan art. Interestingly, Funakoshi, who assembled Shotokan from various Okinawan styles, was careful to acknowledge the historical Okinawan link to China during the evolution of the Okinawan empty hand fighting arts. It was Funakoshi who popularized the term "Karate," or "way of the empty hand" for his newly developed style.
Similar stories can be told of hundreds of arts evolving in virtually every corner of the world. In the Philippines, there are as many formal styles of stick fighting, or "Arnis," as there are islands in the archipelago. The United States must be reckoned as the modern day standard bearer for the martial art commonly referred to as boxing; and Greek Pankration, or classical wrestling, continues to draw followers in Europe and in the United States. There is Thai boxing, as prolific in Thailand as baseball is in America. Thai boxers are trained from youth to master the art of the ring sport which allows hand and foot attacks to virtually every part of the body. They fight in a "boxing ring" and wear boxing gloves, but that's where the similarity ends. Their reputation for spirit and courage is unequaled, and their skills as fighters are seldom matched. Not infrequently, the main claim to fame of touring martial artists from other styles is that they ventured into Thailand and defeated a Thai boxer in his own arena. Of course, very few can legitimately make that claim.
Not to be overlooked are the several other styles of Korean arts, namely Tang Soo Do, Hap Ki Do, and Hwa Rang Do. Tang Soo Do is a major style like Tae Kwon Do, without quite the same degree of world coverage. Hap Ki Do, means "the way of coordinated power." It is an ingenious art by any standard, focusing on pressure points, precision strikes and kicks, joint manipulation, and complex theories of movement. This is in addition to the core hand and foot techniques integral to the other Korean styles. Hwa Rang Do is much the same, with a significantly more esoteric leaning.
Though we touched upon the Okinawan arts briefly when we focused on Funakoshi, it would be unfair not to say more about this island incubator where so many of the martial arts that exist today took their modern form. Historically, Okinawa has been within the Japanese sphere of influence. Nonetheless, it has always been a stepping stone to the Chinese mainland, and its cultural heritage manifests close affinity with both Japan and China. Let there be no question that the residents of Okinawa have a special pride and identity rooted in the unique heritage of their tiny island. However, through most of its history, Okinawa was a colony or possession of Japan, and consequently, is now closely aligned with Japan in language, culture, and attitude.
Historically, the residents were farmers, fishermen, and merchants. These simple people systematically assimilated the fighting arts of China, Japan, and perhaps even Korea, and through centuries of application, and refinement, produced a system of "styles" unique to their island culture.
When Funakoshi adopted the word Karate, or empty hand, for his art, he surely had the Okinawan heritage in mind. These farmers, merchants, and fisherman, while burdened with perpetual occupation by their Japanese cousins, were often deprived of civil rights and liberties taken for granted in our own society. To maintain control of the islanders, Japan carefully controlled the dissemination of weapons and instruments of combat. The Okinawans, ever diligent, ever resourceful, perfected the transmission of power through the human body and into intended targets. Their weaponless power is legendary, and there are many accounts of Japanese armor being penetrated by the hands or feet of peasant fighters during skirmishes.
Most incredible is the ingenuity of these humble people who, barred from using the legitimate weapons of combat for maintaining their sovereignty, eventually looked to the ordinary tools and implements of their humble lives to create new styles of fighting, and new approaches to armed combat unique to their circumstances. Their fisherman's oar became the match of the samurai's sword. The nunchaku, everpresent in today's martial arts movies, was adopted from an implement used to beat the grains of rice from their shells. The sai, which can loosely be described as a trident, capable of being held one in each hand, was adopted from farm tools used to plow the earth. The Japanese were to learn mush from these islanders, and today, much of what is identified as Japanese Karate, has its roots in the minds of the Okinawan peasants.
When digging further into the origins of styles, one ultimately ends up in China. One way or another, China is the great shaper of all Asian martial arts. There are many legends about the origin of modern martial arts in China. One such legend is the account of Bhodiharma crossing the Himalayas, bringing the teachings of Buddha into China. When teaching disciples, he found they had difficulty concentrating, and to solve the problem, he initiated them into physical exercises which would later evolve into Kung Fu or Wu Shu. It was his spiritual descendants who became famous in legend as the Shao Lin monks.
Realistically, one does not find the origin of Chinese martial arts in as recent a historical event as Bhodiharma's crossing the Himalayas. China's history is filled with epic conflicts leaving virtually no parts of the country unscathed. Recognizing the demands for human carnage that such a historical spectacle required, it only makes sense to conclude that throughout Chinese history, there was ample opportunity for all to become exposed to the fighting arts. With refinement, continuous utilization, and systemization, primitive theories of conflict became formal styles of martial arts.
Today, there are countless variations of Chinese martial arts. Historically, practitioners from each town or village began to develop similarities in movement which eventually became styles. Even different regions of the country began to manifest broad differences in martial approaches. Transmission from teacher to student followed any number of avenues. Some arts were taught in the temple. Some were passed on in the market place. Others were passed from father to son, or from father to daughter. There are legends supporting the existence of all these approaches.
Whatever the country, whatever the history, and whatever the style...in time, the masters discovered properties of human potential that were hitherto unknown. They perfected their arts, then hid their secrets. With hundreds of years of practice and contemplation, some of these arts began to take on outer worldly characteristics. The secrets of movement, and energy, once understood, gave new insights into the life process. Legends began to spread of mystics, holy men, and sorcerers. Truth to be known, the arts do lead to a final destination. Those who have made it are not quick to share their insights with the undeserving. Accordingly, even today, the greatest masters (and there are still some around) remain hidden by curtains of commonality. From the deep Orient, to the streets of New York...you can find them sweeping parks, turning the soil, or working as laborers on a road crew. They are one with their art, and they are their art. There is no motivation to propagate their art to the public, nor incentive that the public could offer to make that happen.
These are the guardians of the heritage. They protect it from the unknowing, and undeserving.
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The following words are from master Gichin Funakoshi, who characteri-sesmartial arts (mainly karate) with wisdom and excellence:
FUNAKOSHI
Funakoshi holds a unique position in the martial arts. He is the modern master, who single handedly brought martial arts into the modern age, and ultimately out of the Orient. He is unique among masters in that he was highly skilled as a martial artist (he was the personal student and protégé of two of Okinawa's finest masters, Itosu and Azato), and was a recognized scholar.
Compare "The Code of Isshinryu Karate" (Appendix I, page 1...I have included it below for your convenience) to Funakoshi's own "Eight Important Phrases of Karate.":
The Code of Isshinryu Karate
1. A person's heart is the same as heaven and earth.
2. The blood circulating is similar to the moon and sun.
3. The manner of drinking and spitting is either hard or soft.
4. A person's unbalance is the same as a weight.
5. The body should be able to change directions at any time.
6. The time to strike is when the opportunity presents itself.
7. The eye must see all sides.
8. The ear must listen in all directions.
"Eight Important Phrases of Karate"
1. The mind is the same with heaven and earth.
2. The circulatory rhythm of the body is similar to the sun and the moon.
3. The Law includes hardness and softness.
4. Act in accordance with time and change.
5. Techniques will occur when a void is found.
6. The Ma requires advancing and retreating, separating and meeting.
7. The eyes do not miss even the slightest change.
8. The ears listen well in all directions.
Other quotations from Funakoshi:
"True Karate-do is this: that in daily life, one's mind and body be trained and developed in a spirit of humility; and that in critical times, one be devoted utterly to the cause of justice."
"The secret principle of martial arts is not vanquishing the attacker but resolving to avoid an encounter before its occurrence. To become the object of an attack is an indication that there was an opening in one's guard, and the important thing is to be on guard at all times."
"When delivering the one blow against the attacker, the importance of using one's whole strength and being especially accurate cannot be overemphasized. In the event that this one blow is ineffective, the attacker will become more violent, a point not to be forgotten. The importance of using one's whole strength and putting one's heart and soul in this one attempt has been stressed, but it is also important to do so only after reaching a rational conclusion that there is no other way out."
"There is no first strike in Karate."
"Know the enemy and know yourself; in a hundred battles you will never be in peril.
When you are ignorant of the enemy but know yourself, your chances of winning or losing are equal;
If ignorant both of your enemy and of yourself, you are certain in every battle to be in peril."
"For to win one hundred victories in one hundred battles is not the highest skill. To subdue the enemy without fighting is the highest skill."
"When birds of prey are attacking, they fly in low without extending their wings. When wild beasts are about to attack, they crouch low with their ears close to their heads. Similarly, when a sage is about to act, he always appears slightly dull."
"The word "bu" of Budo (martial arts) is written with the Chinese character for "stop" within a character signifying two crossed halberds meaning to stop conflict. Since karate is a budo, this meaning should be deeply considered, and the fists should not be used heedlessly."
To search for the old is to understand the new.
The old, the new
This is a matter of time.
In all things man must have a clear mind.
The Way:
Who will pass it on straight and well?
(Poem by Master Funakoshi)

I just updated Hung Gar, see above. BTWm can someone give me a hint where should i look for power and precision strikes? Google gave me nothing but analises on martial arts, but nothing what I could use.

mindripper,it turns out that Phoenix Eye really is a martial art.Its called Fong Ngan.This is all I could find on it.
Fong Ngan, also known as Phoenix Eye Fist, is a style of Kung Fu that originated in Hopu Province in China. Kew Soong has said to develop the style. It is named for the slightly protruding finger, which resembles the eye of the legendary Phoenix.
In this style, the basic blow is delivered with the fore knuckle, palm fist, finger poke, ridge hand, and knife hand techniques. Fong Ngan’s only kick is the front snap kick, delivered low to the groin area. The Phoenix Eye Fist is used for pressure point strikes.
Fong Ngan incorporates hand techniques and has no formal stances. Instead, the student of Fong Ngan learns to crowd an opponent, forcing him to make a wrong move. A Fong Ngan fighter never retreats from an attack, but moves into it or sometimes jumps to the side of the opponent while counter attacking.
Other techniques used in Fong Ngan are tripping and leg-hook throws, which are always followed up by a “killing” strike. It also employs the use of elbow, which is used to break the opponent’s arms and to strike vital points in extreme cases of close range fighting. Fong Ngan training includes the practice of forms, proper breathing, and speed training.

DeadlyCobra, you're my man. From where did you get theese infos?
Anyway, I have decided that weapon styles are also accepted further in
the topic. I usually use Google to search the web for some martial art yet
unintroduced, could you give me a little tip where to search for in the future?

Well,aside from my experience in the martial arts,is use books(if you know how to read)and I've found a few good websites that give a lot of info.Ummm....let me think.I think one of them is www.chinavoc.com.That one has a lot of different styles on it and it has info on Wushu weaponry.

Thanks alot D.Cobra. By the way, should I introduce martial arts weapons in the thread? Just in case we run low on unarmed styles :D

Awesome info on Phoenix-Eye! I really think that it and White Eyebrow (Pak Mei) would be great for someone like Blaze.
Can someone tell me anything about Mi Tzu?

I will get to Mi Tzu as fastest I can. I have planned the following styles as the subjects of an upcoming analysation:
ba shan fan, cha chuan, chang family fist, chuo jiao, chun yang wu dang, coiling dragon, cotton palm, di tang, ermei, four gate shaolin, liangshan fist, liang yi, lost track, mian zhang, mok gar, mulan fist (no joke realy), omei, shuai jiao, sun bin, tzu ran men (also known as: zi ran men), wan lai shen kung fu, water margin fist, wong fei hung, wu dang, xinyi liouhe, yan quing, yi quan.
thats a lot of work, so Deadly Cobra, I'm counting on your help.
I'l be damnd if half of theese styles would turn out to be non-separate styles of Xing Yi or Tai Chi. Oh well...get back to the work Chrome...