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Dust in the wind
Join Date: Jan 2004
Location: Arakmat
Posts: 679
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Demir Kum [ 3rd Draft ] (Final)
OOC: It only took me two months to revise it yet again and produce, hopefully the third and final draft. I would like to thank all of you who have helped with suggestions and ideas to create, in my mind, a very fine work.
In this draft I have expanded the history, added the creed, and revised some of the techniques as well as tried to expand the general descriptions of each level.
Thanks
Dark
Demir Kum
THE CREED:
"The sands of the desert have both a long past and long future. Forever patient it does not provoke a battle, but every vigilant the sand will never turn away. Caught by the wind, the sand dances on air, every flowing, never caught. With ferocity it can attack cutting away the outer layers or with modesty it can bask in the new days light to reflect its being. Touched by the water of the oasis it shines anew, and when set aflame it holds countless secrets. No matter the scars it bears or the travels it makes, sand is forever sand, only shaped into a more perfect being with each day.
To embrace the sand is to embrace life, death, fearlessness and endurance. To learn Demir kum, is the art of becoming the sand."
GENERAL:
Demir Kum, or Iron Sands in the common tongue is a practiced secret amongst the people of Arakmat City and the surrounding desert. Rarely heard of outside of the sandy wastelands it has only recently come to the surface of talk in the unarmed circles thanks to the more open free trade agreements and outward expansion of Arakmatan business and skills.
The two main points to be noted about Demir Kum is the art is completely offensive and can also be freely used with a specially designed dagger, crafted specifically for the practitioner of the art. The style itself is inconceivably brutal, with every move designed to disable or destroy your opponent as quick as possible. Even at the first level students are taught the weaknesses of a person’s body and how to effectively use them against their enemies. It is for these reasons that it is also extremely efficient in multiple attacker situations.
Often taught only through live spars to engrave the sensation of pain into a practitioners mind, it is not uncommon to see users of the higher ranks badly scarred from training wounds. This practice, however, eliminates those not dedicated to the art early, as well as purges those without the natural talent required for prolonged study.
Finally, through constant training the use of Demir Kum creates incredible flexibility, strength, agility, and tolerance to pain. These side effects are attributed to the unnatural stances and contortion used to bend and break an opponent’s physical form while simultaneously dodging or absorbing their strikes.
HISTORY:
Demir Kum is extremely violent in form, taking its roots from the ancient barbari ancestry of Arakmat. Before the refinement of iron and steel the people of the sands used hand to hand combat as a way to establish dominance and protect themselves. The very nature of the Nairu is filled with violence, one family constantly trying to establish dominance over the others. As eras passed and these arts became more refined they were used in conjunction with allied families to perfect their skills, and then passed down to the many children of the Sheikhs to train their warrior spirits.
As time passed however and weapons grew in popularity it was not only natural, but necessary that the nomads of the sand adapt their long tradition of battle to the new tools they had at their disposal. Such was the way of the world in their eyes; one must change with the times or be cut down by them. The ancient smiths spent many patterns developing and adapting the blade of the trade, constantly trying to perfect the design and give their family the upper hand in battle. They traveled to far away lands, worked with techniques older the human race, developing steel and mastering the craftsmanship needed to create the perfect weapon, which eventually came to be known as the Arakmatan Long Dagger.
In the founding year of Arakmat when the first prince was chosen and the families put their blades into the sand, Demir Kum changed forever. On that day it no longer became a widely practiced art that all learned, instead it found its true purpose in this world. To become a finely honed skill practiced only by the most worthy of warriors and perfected into a flawless killing art. It was during this time and the years following the coronation of Prince Aliyeh Al-Hakkar, that Demir Kum transformed into the brutal style that it is known for. Practiced by the sheikhs and their families, war was let loose and blood flowed like wine.
Only after the decree of Prince Aliyeh, that any man brought to arms or using a third member would have to face his judgment did the form transform into a more traditional type of Zinn’ka. The ideas were taught from master to student and the art of sparring and fighting for points became a way for disputing houses to settle their issues without the divisions handed down by the sultanate.
As the era’s passed however, and more outsiders flowed into their lands, the nomads of the sands became more secretive, attempting to hide one of their most sacred practices from those who would abuse it. This, along with its student’s aptness to not consider a battle complete until the opponent was dead created a shroud of mystery and seclusion that made it quickly fade from the surface of desert culture becoming an underground form of self defense.
In modern culture it is one of the most prized traditions of the ancient families that still inhabit Arakmat city. Noble houses, along with the Al-Hakaar bloodline still teach the art to each child born into the family, however commoners can learn the art through the military as the basic levels are taught to all recruits as a form of protection in riots. Further it should be noted that rumors exist of an elite combat academy in the heart of Arakmat city that is home to one of the last remaining grandmaster practitioners though this information is inconclusive at best.
THE LEVELS:
Basic Level
At the basic level the student is introduced to the founding principals of Demir Kum. They are taught the exercises, both mental and physical to focus and train their bodies to stand up to the rigors of being a finely tuned practitioner of the martial arts. Further, they are given lessons in the vulnerable points of the body and how to efficiently exploit them with the basic attacks. Foremost however, they are taught the path of enlightenment, the principals of Demir kum as a way of life rather then a simple set of attacks. It is this idea that instills the responsibility in a practitioner to only call upon their knowledge when absolutely needed.
Physical Training –
The key element to Demir Kum, students are taught the exercises they must continually do in order to maintain flexibility endurance and strength. These are a series of stretches that vary from master to master but are always progressive in nature. The idea is help the body surpass its natural limits through practice and retraining of the limbs.
Weakness of the Body –
Every opponent’s body has points that are vulnerable to attack, just as every student shares in this weakness. In this stage of training the practitioner is taught how to strike at the throat, eyes, joints and organs, knowing these spots can disable but must never be exposed.
Focus of the mind –
A basic meditation technique that helps the student focus in battle, ignoring pain and helping read an opponent’s movements. The idea is to clear the mind of all outside influence and approach the task at hand with a calm form. Only when the mind is calm can the body react.
The Stances –
All buildings must be built upon a strong foundation, just as each man must have a strong base. The student is taught the three stances of Demir Kum, The falcon (speed stance), The Serpent (maneuverability stance), and The Ifreet (power stance)
Art of the Attack -
The final piece to the first level is learning the proper execution of punches and kicks to the vulnerable parts of the body in each of the stances. It is here where the student takes place in their first spar, taking all the ideals they have been taught, and using them in a real life situation by reading an opponent and trying to successfully obtain strikes.
Veteran Level
In the Veteran Level the student advances their original training learning how to intercept weapons instead of just physical attacks, as well as the basics of stinging multiple attacks together in quick succession. Also the student is introduced into the principal of mid attack stance change, familiarizing themselves with the basics enough to effectively use them in a multiple attacker situation. It is during this time that most students loose interest thanks to the high physical and spiritual demands of the form. Only those with true potential will ever learn and commit themselves beyond the Veteran level.
The Two Strike Combination –
The student is taught how to properly execute two strikes in quick succession eliminating the chance for the opponent to block. These attacks are based more around speed then power, making the combination relatively weak but it helps build a base for the creative fighting needed in the form while passing along the ideas of attack flow.
Focus of the Soul –
With their mind focused the student extends their perception into an area around them. Reading the subtle details of their surroundings they are able to ‘predict’ attacks coming from out the regular range of sight as well as ‘feel’ where their opponent will strike next. The idea is that through a harmony with ones self, a student will know when the world has altered around them.
Breaking the Sword –
The pupil of Demir Kum is taught how to avoid and intercept an armed opponents strike while minimizing the risk to themselves. Then upon mastery of this, the student combines their knowledge of strikes and weak points to effectively disarm.
Chimera’s form –
At the second level of training a student should have the experience in their stances and attacks to freely transition between them. Here they practice and test their knowledge by using combinations in all three forms and transferring through them.
Multiple Attackers –
The final test of the veteran level is to use all of their knowledge thus far to effectively perceive enemies at all angles and disable them as quickly as possible by switching stances and attacking their greatest vulnerabilities. This act is often preformed by students’ superiors as a form of hazing into the art. It is said that if a practitioner can still stand after a bout of their peers then they are accepted to stand as a warrior in battle.
Elite Level
Elite pupils are gifted with a blade from their respective house master and taught how and where to use it to cause the optimal amount of damage. At this level the student is also taught the first traditional specialty technique, which uses their previous lessons along with meditation to unlock hidden power reserved in the body. Students of this level swear an oath of secrecy about their art, promising to take the final breath of life from any opponent who does not garner the respect of the practitioner in battle.
Art of the Blade –
At this point a student is considered faithful to the art and is rewarded with a blade by their master. They are then taught to substitute blade strikes for standard punches and chops. Utilizing it for more damage and more deadly attacks with their skill, the principals state that the blade is an extension of the soul, sent to purge the enemies flesh of ill will.
The Hidden Vulnerabilities –
Now armed with a blade, the student of Demir Kum can easily strike points previously unreachable due to an opponent’s bone structure. At this point the pupil learns about the vital organs and lethal striking points hidden below the flesh. The pupil also understands the ideals that set up an opponent for a future strike by using diversionary tactics to reveal easy access to internal organs.
The Three Strike Combination –
The student should have a strong grasp on their attacks and points of weakness. At this level the pupil is taught how to properly execute three strikes in quick succession increasing the damage dealt by the combination of blows as well as combining physical hand to hand strikes with the use of a blade.
Focus of the Body –
The practitioner reads their opponents subtle movements, picking up on the slight twitches and tells that the body naturally has before an action. The students mind in so in tune with their own body that it is said they begin to react without even thinking of the action
Inner Strength –
Through heavy training, and practiced technique the student is taught how to use their strength to the highest ability. With a familiarity of the body’s internal and external, as well as spiritual workings the student learns how to release the natural barriers built into their muscle and nervous systems and use the added strength to brutalize their opposition.
Master Level
Often the highest level any practitioner obtains due to the natural limitations of the body. The master of Demir Kum completely utilizes his or her blade in their in their personal art, as well as learning two more of the traditional specialty attacks. It is also a regular occurrence for practitioners of this level and above to place themselves in seclusion solely devoted to the development of their skill either through personal training or taking on a promising student.
Transition of Hand to Blade –
With a passionate knowledge of stance, form and style, along with practiced familiarity with their own blade, the student masters the technique for seamless transition between fist and blade, minimizing draw time and maximizing the flow of movement and ease of attack.
The Four Strike Combination –
In an act of near perfection the student realizes how to properly execute four strikes in quick succession with no chance for the opponent to block. This lightning fast ability finally returns the property of strength to the multiple attack form. This combination of swift, hard, and sometimes bladed attacks often leaves its enemies permanently disabled.
The Right Palm of Devastation –
A secret art passed from one master to another, the Palm of Devastation is a technique that uses transference of force and momentum into the torso of the enemy to cause massive internal injuries to the heart, lungs, liver, and kidneys. If not properly treated, it has been known to lead to death many days after the strike took place.
The Left Palm of Healing –
The only technique of Demir Kum that does not have some form of offensive nature, the Left Palm is often considered the representation of life through the oasis. The student relaxes the body and frees the mind of hardship, letting the natural energies of the soul help in the recovery of wounds. The left hand is often used to induce the trance like state either on one’s self, or others through pressure points.
Caress of the Gods –
A meditative art that allows the user to actually ignore, or ‘turn off’ their pain receptors for a limited time. Letting them push their bodies beyond the limits of a normal person. This is considered an extremely dangerous and foolhardy move as without the sensations of pain the body has no reasons to hold back, and only dependent on the user’s self control one can easily cause immense amounts of damage to their selves without realizing it.
The Way of the Serpent –
Using all of their prior knowledge the student of Demir Kum uses the placement of stance, and physical form flawlessly and efficiently to block attacks with their bodies while taking minimal damage, ultimately leaving both hands and feet free to strike at a close, and unhindered range.
Grandmaster Level
It is said that only the most gifted and determined masters can ever dream of the rank of grandmaster let alone become one. The rank can only be given by a select few, and to see one technique of this level is a gift beyond the worth of gold. Every movement of the Grandmaster is lethal if they chose. These leaders of the art are rumored to laugh at pain, so in tune with their bodies they can absorb the force of a giant’s attack and rebound it at them without so much of a flinch. It is also whispered their combinations are strung so beautifully together, creating a hypnotically lethal, yet graceful dance that an enemies mind can’t react even as their bodies are pummeled to nothing.
The Five Strike Combination –
The master ascends at this point, knowing the workings of the martial art flawlessly. Each move is just as natural as breathing and can be executed without a thought eliminating all hesitation and often proving instantly fatal by attacking the five points of demise against untrained opponents.
The Eyes of Death –
The mind is unshackled from its bonds with this ultimate state of meditative bliss. The Grandmaster actually perceives every action around them by reading the details of their opponent’s movements as well as the shifts of their surroundings through all five of the natural senses
Fang and Talon –
The master’s knowledge of blade play and transition ascends to the final step as they are awarded a smaller version of the Arakmatan long blade as a second weapon that only adds to the ferocity of each attack. These blades are used like extensions of the body, constantly flowing and rotating in the palms with the grace of a falcon’s talon.
Dance of the Three Beasts –
Perfection of Demir Kum is the only way this ancient technique can be obtained. A combination of the Eyes of Death technique and an extension of the five strike combination make this attack the second hardest skill to obtain in the entire form. Through the seamless transition of the three stances, and a flawless knowledge of where, when, and how to attack an opponent with lightning speed and pinpoint accuracy the master executes 15 successive strikes. By alternating between the three stances and reading all opponents’ actions a grandmaster can unleash a furious storm through 360 degrees completely annihilating a small force of men before they have a chance to strike.
Son of the Stranglesands –
Only learned in a life or death situation, the student must travel to the Stranglesands of the Arakmat desert. Practicing for one cycle without sleep, the master learns how to be as light as possible on the quicksand, constantly moving and altering his or her weight displacement while adding to the master’s endurance. The product of which is uncanny speed and maneuverability in an actual fight.
WEAPONS OF DEMIR KUM-
Metal Knuckles –
A set of metal knuckles fashioned specifically for the user’s hands usually from brass or iron. They are crafted to fit the students grip, lacing between the fingers with a small grip that rests in the palm of the hand reinforcing, and adding weight to the fist. It is customary for a student to keep a set until they learn the art of inner strength at the Elite level.
Arakmatan Long Dagger –
Often mistaken for a Jambyia, the Arakmatan long dager has a shorter handle and no hilt. The knife is crafted and balanced for the student, and made of Dwarven steel or better to increase strength as the blades spine is eliminated to add a second edge on the back of the blade to aid in the act of puncturing and slicing. It should also be noted that the overall shape of the knife is formed into an S design, however the curve is minimized and the width of the blade is much thinner then a Jambyia as well.
STANCES OF DEMIR KUM–
All stances are described as if being taken from the position of facing the opponent.
Stance of the Falcon (Speed) –
The right leg is positioned behind the practitioner, resting their weight on the balls of the feet as the foot is sat perpendicular to the body at shoulder width from their left. The second foot runs parallel to the users form, and the knees are crouched into a 45 degree angle. The back is to be straight forming a line up the body leading to the face which is turned to look at the opponent across the left shoulder, thus revealing a minimal striking area for the attacker.
Both arms leave the body at similar angles to the legs (approximately 45 degrees), the left moving away from the users form in a downward angle, and then shooting back up at the elbow until meeting the hand. The right runs a similar line away from the body, until it reaches the elbow and draws a perfect line back inward until the wrist rests upward at mid body level. The practitioner’s hands are to be half open, the thumbs neatly tucked along the side of the palm, and the fingers curled into a half fist. Both palms face the opponent due to their positioning, the rights knuckles turned downwards as the lefts pointed toward the sky, each wrist bent at a 90 degree angle to the forearm.
This stance winds the muscles into a contorted state placing tension on the pivot points, thus allowing them to strike out at incredible speeds. The stance however does not allow for the maneuverability of the serpent due to the tension already on the form, or the power of the Ifreet thanks to the already drawn stance.
Stance of the Ifreet (Power) –
Low set, this stance positions the body perpendicular to the opponent. The legs are bent at near 90 degree angles at the knee with both feet nearly flat. The feet are spread wider then shoulder width, with the left drawing a diagonal line into the body while the right draws out. The back is aligned straight, with the chin looking over the shoulder in much the same fashion as the Falcon Stance.
The arms are positioned close to the body, taking a piece from each of the other two stances. The right is positioned just above its hip with the wrist up and elbow angling out behind the practitioner’s body and then back in much like the serpent’s stance, while the left travels out parallel to the body in a 90 degree angle at the shoulder and elbow. Both hands are held in tight fists to give the user a hard, unforgiving striking surface.
This stance bases all of its power from the full drawn stance that allows the user to throw their full body weight into each action. The strikes are slow coming but when used in combination with the other stances, or specialty techniques prove invaluable in delivering blows that easily snap bones and leave internal organs battered.
Stance of the Serpent (Maneuverability) –
The practitioner’s body faces the opponent with the left leg as the forward brace, bending at the hip and knee at 45 degree angles, forming a crouching position and resting much of the body’s weight on the ball of this foot. The right does not break from the line of the frame until the knee, bending at 45 degrees again resting the remainder of the weight on the toes and ball of this foot. However on the left foot, the weight is stationed more on the rear of the ball and point of the arch. The legs are positioned slightly less then shoulder width apart. The combination of positioning gives the practitioner a strong base to leap, roll, or push off with the legs up to one foot in order to dodge attacks.
The body rests at an angle slightly less then perpendicular to the ground leaning toward the opponent. Both hands are in the full open position with the thumbs tucked across the palm. The right is positioned wrist up, nest to the waist, while the left moves away from the torso at three perpendicular angles, outward then upward and then again outward, wrist and palm down.
This stance is a careful combination of balance and maneuverability. The core principal of the stance is to allow the practitioner the freedom to choose what direction they find most suitable for dodging an incoming attack while allowing them to work closer to the enemy for a succession of strikes.
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Just have someone spellcheck it for you for minor stuff and it should be good I think!
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