AGM Office: The Mad One

The Mad One · July 15, 2009, 03:58 AM

If one travels the path through the thick forest on the northwest edge of Frigid River they will find that the path ceases to be. The trees simply swallow the dirt path and one is left with little choice but to follow the narrow footing that is created by the natural flow of the river itself. The walk along the river's edge is tranquil as one can become intoxicated by the sound of the water as it flows over stones and fallen trees. A wolf may even be heard howling in the distance and perhaps a brown bear could just happen to startle a traveler as it wakes from its winter slumber to come to the rivers edge in search of a tasty salmon. Suddenly when it seems as if one has traveled so far into the depths of the forest to become lost a curious sight appears as if an apparition in the mist. Seemingly a natural part of the landscape, a dwelling appears built into the mountainside as if formed from the very bowels of the earth. Upon nearing the bottom of a staircase made into the natural stone of the mountain one can make out a slight rise of smoke accending from the chimney that protrudes from the moutainside. A wooden bridge under which the river flows leads the way to a heavy oak door solidified with heavy brass bands. Upon the door there is a heavy brass door knocker with a brass name plate fastened beneath it. Upon closer inspection one can read inscribed in bold print:

The Mad One

AGM: Frigid River

MOD INFORMATION
Schedule:Turn around time is 1-3 days.
Preference:Training threads (Specifically Weapon/Physical Combat), Battles, Fights, Hunts, Drunken bar room brawls.
Requests:Please feel free to request modding for current threads or designing and modding custom threads.

Charybdis · July 15, 2009, 10:41 AM

Welcome to the Lauryl mod team. ^^

The Mad One · July 15, 2009, 11:41 AM

Thank you, I look forward to working with you

FrostFire · July 15, 2009, 04:12 PM

Welcome to the Frigid River moderation team.

The Mad One · July 17, 2009, 03:54 AM


	LIN KUEI DO Devil Boxing


	Traditional Name Lin Kuei Do (Translated as "Way of the Forest Devil") Modern Slang Name *Devil Boxing* Description Lin Kuei Do is a Freestyle Bareknuckle Combat system using the body as a weapon. It consistes of Strikes, Blocks & Grappling using the head, hands, elbow, knees and feet.


	History Legend states the system was originally taught to a small group of infantry soldiers whom were cut off from there army and trapped behind enemy lines outnumbered 100 to 1. Starving and afraid they came upon an old hermit who was an old long retired warrior living deep in a forest cave. He took this band of soldiers and nourished them back to health and taught them the original system whos name has long since been lost to antiquity. After these soldiers attained mastery they left the old man and attempted to break through enemy lines to get back to there army. They came down the mountain through the trees and were attacked and fought using their new skills. Their method of fighting was so ferocious that the enemy soldiers dubbed them "Lin Kuei" or "Forest Devils". They were all killed save one. This lone surviving warrior was honored for his valor on the battlefield and allowed to live by his attackers if only he would tell them where he learned to fight. The lone warrior said that it was by one of there own clansmen in the very hills of their own land. The lone warrior then took his attackers to the very cave. The attackers suddenly made a sign to ward evil and looked on in fear. The cave mouth was no longer open but sealed with a heavy stone. When the lone warrior asked the meaning of this the enemy chieftan stated this was the tomb of the last surviving warrior of an unknown tribe that had lived in these hills in years past but he died in the time of his grandfathers, grandfather. Thus the lone warrior was allowed to go in peace and is said to have brought the Lin Kuei system out of antiquity and passed it on through the ages. Hence it was past down and developed and perfected by the mercenary class of warriors over several generations whom drew there bodies from infantry units to outlaws and gladiators. Seeing war on almost every continent and coming into contact with various warriors using techniques native to their lands they had to adapt there system of fighting to overcome all enemies. Thus there are many techniques borrowed from other styles of fighting and integrated into this system. The warriors of old used what worked and discarded what did not hence we are left with a pure and raw form of unarmed combat.


	Limitations The system was developed mainly by humans so it is suited mainly to humanoid races. The system is able to adapt to the practitioner thus a dwarf whom is small of stature but physically strong would mainly concentrate on utilizing the grappling aspect where as an Elf who is graceful and long of limb would benefit from the powerful kicking techniques. Strengths This essentialy turns the body into a weapon. Practitioners are able to deal a force continuem that ranges from mere pain compliance to incapacitation and finally lethal. One great advantage is that an unarmed person in the minds of most sentient persons is not percieved as a threat and can therefore access certian places or persons and deliver lethal force when needed. Weaknesses The practitioner will find that in order for the body to operate at its full potential it must be unburdened by heavy armor. Hence the more layers of clothing or armor that one wears will make certain techniques less effective.


	The practitioners Often refered to as Devil Boxing by those whom have been on the opposing end, the practitioners are hence referred to as Devil Boxers as seems to be the current slang term. Devil Boxers usually attain a basic understanding of the system in 6 months and usually attain complete mastery in approx 5 years. They normally where loose cotton pants secured by a colored belt to denote rank. Practitioners consider themselves a loose fraternity and once it is established that one has attained a ranking in the system they usually recieve a certain amount of respect. Devil Boxers spar together frequently as a form of both practice and contest and will sometimes where padded leather gloves and pad their feet, to both protect their hands and feet and so as to not injure their opponent during practice. Devil Boxers also have a loose code of honor taught to them as initiates though in the later years not all stick to it.


	Devil Boxer's Code 1. Protect the good weak against the evil strong. 2. Never kill unless your or anothers life depends on it. 3. Once an opponent surrenders cease attacking. 4. The body is as a knifes edge, keep it sharp. 5. Pass your knowledge of this system onto at least one other.


	Level/Belt Ranking/XP Opponent A-B-C (# of Opponents) Fill in with Strike/Block/Defense/Grapple/Throw of appropriate level


	1/White (Beginner)/2 Opponent A Strike Block


	2/Green (Journeyman)/6 Opponent A Block/Strike Strike/Strike


	3/Red (Advanced)/12 Opponent A Block/Strike/Throw Block/Strike/STrike Strike/Strike/Throw Strike/Strike/Strike Opponent A-B Block-Block Block-Strike Block-Throw Strike-Throw


	4/Blue (Expert)/24 Opponent A Defense/Strike/Strike/Strike Block/Strike/Strike/Strike Block/Strike/Strike/Throw Defense/Strike/Strike/Throw Block/Strike/Grapple Defense/Strike/Grapple Opponent A-B Defense/Strike-Defense Defense/Strike-Block Defense/Strike-Throw Block/Strike-Block Block/Strike-Strike Block/Strike-Throw Block/Throw-Block Block/Throw-Throw


	5/Black (Master)/36 Opponent A Defense/Strike/Strike/Strike/Strike Block/Strike/Strike/Strike/Strike Block/Strike/Strike/Strike/Throw Defense/Strike/Strike/Strike/Throw Block/Strike/Strike/Grapple Defense/Strike/Strike/Grapple Opponent A-B Defense/Strike-Defense/Strike Defense/Strike-Block/Strike Defense/Strike-Defense/Throw Defense/Strike-Block/Throw Block/Strike-Block/Strike Block/Strike-Strike/Strike Block/Strike-Strike/Throw Block/Strike-Block/Throw Block/Throw-Block/Throw Opponent A-B-C Defense/Strike-Defense-Strike Defense/Strike-Block-Strike Defense/Strike-Defense-Throw Defense/Strike-Block-Throw Block/Strike-Block-Strike Block/Strike-Strike-Strike Block/Strike-Strike-Throw Block/Strike-Block-Throw Block/Throw-Block-Throw

GRANDMASTER
The Grandmaster Rank does not get any special or extra abilities. They have the same abilities and skills as a Level 5 Master. They simply get more respect as being the head of the Style, School or Clan. The only way a Grandmaster can be replaced is if they retire and appoint another or if they die and the ranking Masters vote for another one.
Current Grandmaster Rank is held by AGM: The Mad One

NPC

Secrets :


	Abilities Abilities are gained at each level of achievement and improve with each level.


	Level 1 Abilities *Lightning Reflexes:* Able to block and strike most untrained opponents


	Level 2 Abilities *Lightning Reflexes:* Able to block and strike most level 1 opponents *Hands of Stone:* Able to strike and stun most untrained opponents


	Level 3 Abilities *Lightning Reflexes:* Lightning Reflexes:Able to block and strike most level 2 opponents *Disarm:* Can disarm most untrained opponents *Hands of Stone:* Able to strike and stun most level 2 opponents *Iron Body:* Able to toughen body to withstand most strikes from level 1 opponents


	Level 4 Abilities *Lightning Reflexes:* Able to block and strike most level 3 opponents *Disarm:* Can disarm most level 1 opponents *Hands of Stone:* Able to break bones and knock out most level 2 opponents *Iron Body:* Able to toughen body to withstand most strikes from level 2 opponents *Chi Projection:* Able to concentrate do one of following: Strike through armor/Strike Magical Being/Withstand Physical or Magical Attack with minimal damage


	Level 5 Abilities *Lightning Reflexes:* Lightning Reflexes:Able to block and strike most level 4 opponents *Disarm:* Can disarm most level 3 opponents *Death Touch:* Able to kill most level 3 opponents,break bones and knockout level 4 opponents and stun level 5 opponents *Iron Body:* Able to toughen body to withstand strikes from most level 4 opponents *Chi Projection:* Able to concentrate do one of following: Strike through armor/Strike Magical Being/Withstand Physical or Magical Attack with minimal damage and heal minor injuries and illnesses.


	ATTENTION The following listed Strikes, Blocks & Grappling will have a colored background that coresponds to what level these techniques are taught at.


	Stances Jun Bei: The Attention Stance is performed by standing with the feet one shoulder length apart, measured from the outside edge (Foot Sword) of the feet, with arms slightly bent and loosely held fists about one fist size apart just below the navel and the fists should be a fist size away from the body. Muscles are relaxed to promote movement speed from this position. When bowing you bend 40 degrees forward, hands at side open with palms flat against your legs, eyes always on opponent. Forward Stance: From the attention stance with feet together, one foot is placed straight ahead of the other, about a normal walking step. The distance between both heels is about a shoulder length to one-half shoulder length. Rear toes are turned outward about 30 degrees. The weight should be 50-50 Horse Stance: Feet are placed much wider, about two-shoulder length's apart. Also, the knees are deeply bent. The shins should be kept perpendicular to the floor. This requires the knees to move outwards away from the body. The hands are held in fists, on the hips at belt level, with the thumbs up. The weight distribution of this stance is 50%-50% and should be directed inwards. Short Cat Stance: Stand with your front foot facing forwards and the back foot turned 45 degrees to the side, keep the feet quite close together. Shift most of your weight to your back foot, so the front foot is only for balance and you can kick from it with little body weight shifted. Additionally, your front foot should be up on the ball of the foot (heel off the ground). Weight should be 90-10 Long Cat Stance: This stance is specifically focused on shifting weight to the back leg, as it offers much more control, and makes it easier to kick off the front leg. To perform this stance, the body faces to the side, with the front foot facing forwards, front leg bent. The back leg is bent slightly, and the foot is turned outwards perpendicular to the front foot. The weight distribution of this stance is 30%-70%. Both legs should be slightly bent, the back foot or the foot with the most weight on it should be bent in slightly. the back knee should be over the foot. Fighting Stance: In a Fighting Stance the boxer stands with the legs shoulder-width apart and the rear foot a half-step behind the lead foot. Right-handed boxers lead with the left foot and fist. Both feet are parallel, and the right heel is off the ground. The lead (left) fist is held vertically about six inches in front of the face at eye level. The rear (right) fist is held beside the chin and the elbow tucked against the ribcage to protect the body. The chin is tucked into the chest to avoid punches to the jaw which commonly cause knock-outs and is often kept slightly offcenter. Wrists are slightly bent to avoid damamge when punching and the elbows are kept tucked in to protect the ribcage. Feet are loose ready to throw a kick or move the body. SOme boxers adabt a slight bounce on their feet.


	Striking Bringing part of your body into contact with your enemies body. Striking will be separated into the subsections Head, Hands, Elbows, Knees and Feet. Students will also be taught were to strike such as vital areas like Eyes, Throat and Groin.


	Head Due to the ridge of hard bone on the forehead and rear of the skull, the head is actually a formidable weapon that can be used for striking or blocking.


	Front Headbutt: The top ridge of the forehead just above the brow is ideal to to strike your oponent in the facial area. Rear Headbutt: The head can be used to execute a rear headbutt thereby using the back of the head to strike your oponent in the facial area such as if in a bear hug. Head Block: You can lower your head when an enemy is attempting to strike you in the face thereby causing them to strike the top ridge of the forehead and possibly break their hand or foot.


	Hands The hands can be used to throw a list of striking techniques which are listed as follows:


	Jab: The jab is a straight blow delivered (generally from a distance) with the arm above the lead foot ... The punch is quick and explosive. Cross: A direct punch, like the jab, delivered with the rear hand. Hook: A punch involving the use of turning to aim toward the side of the head or body. Uppercut: The fist is raised vertically towards the target, usually the head or upper body. Since most guards are held with the arms in a vertical position, the uppercut can be used to avoid the opponent's attempts at blocking.


	Backfist: A backfist is performed by forming a fist and striking with the tops of the two largest knuckles. A spinning backfist is performed when the attacker swivels 360 degrees before landing the punch, adding extra momentum to the attack. Hammer Blow: A compacted fist is brought down upon the target, usually using the side of the hand or wrist.


	Ridge Hand: By tucking the thumb into the palm, a striking surface called the ridge-hand, or reverse knife-hand is formed, extending a few inches along the inside of the hand below the first knuckle of the first finger. Ridge-hand strikes commonly are delivered with a hooking motion, or with a straight arm swing. Suitable targets include the mastoid muscles of the neck, the jugular, throat, nose, jaw, and the groin. Knife Hand: A strike using the part of the hand opposite the thumb (from the little finger to the wrist), familiar to many people as a chop. This refers to strikes performed with the side of the knuckle of the small finger. Spear Hand: Delivered just as with a punch except that the hand is held open like with a knife hand. The intended striking area are the tips of the fingers.The ideal targets are the eyes and throat. This technique is generally unsuitable against most other targets due to the high probability that one might break their fingers.


	Leapord Fist: By tucking the fingertips against the bottom knuckle of each finger, a long fist is formed. They offer decreased strength but increased reach. Palm Strike: A strike using the palm of the hand. Whether the hand is open or the fingertips are folded against the bottom knuckles, palm strikes hit with the bottom part of the palm, where the hand meets the wrist. The hand is held perpendicular to the wrist to avoid hitting the softer inner wrist tissue against the target.


	Elbows The elbows make a dangerous addition to the boxers arsenal as they can be used up close within an enemies guard and deliver devastating damage. The elbow can be used in several ways as a striking weapon:


	Hook: Thrown just like a hook punch but striking with the elbow instead of the fist. Uppercut: Thrown just like an uppercut but striking with the elbow instead of fist. Overhand: Bringing elbow up overhead similar to throwing a hook as if you were striking an opponent on top of head or collar bone. Downward: Similar to hammer blow but instead of smashing fist down in a hammer strike you are smashing elbow down on a collar bone, head, leg, arm or downed opponent. Backward: Throwing an elbow strike when an opponent is behind you similar to a hook but striking with the elbow as you pull arm back into hooking position. Flying: Throwing any of the above techniques while jumping up and into your opponent for added power. Spinning: Rotating the torso 360 degrees so as to add power to any above listed techniques


	Knees The knees are another dangerous addition to the boxers arsenal. They deliver crushing force that is delivered within an enemies guard.


	Straight knee: Also known as a front knee is a typical knee strike, and involves thrusting the front of the knee into the head or body of an opponent. The straight knee can be applied from a stand-up position both when the combatants are separated, or when they are clinching. Curve knee: Also sometimes called a side knee is similar to the front knee except that it does not use a forward thrusting motion, but is instead rotated from the outside. Whereas the front knee needs some space in between the combatants to be performed, the curved knee can be executed from a minimal distance, such as in a close clinch.


	Flying knee: Sometimes called a jumping knee, this strike very similar to a front knee, except that it is performed in stand-up fighting by jumping, and often by rushing towards the opponent. A more reckless application of the flying knee strike can be applied by rotating the body so that the side of the knee strikes the opponent, used more as an offensive pushing attack rather than a concussive KO attack. Generally, flying knee strikes can be effectively applied when the opponent is off-balanced, recovering from previous strikes, or as a counter to a strike by the opponent. Provided that it makes impact with the head, a flying knee offers substantial momentum and knockout power.


	Feet The feet are used to deliver devastating kicks often with bone crunching power.


	Snap: Delivering the snap kick involves rising a knee of striking leg to the position in which desired point-of-impact, one's foot and pelvis are on the same line. Then, one should straighten striking leg quickly and make contact with a target area. Thrust: It is typically executed by lifting the knee straight forward, while keeping the foot and shin either hanging freely or pulled to the hip, and then straightening the leg in front of the practitioner and striking the target area with the heel or ball of foot mainly to push attacker away from you.


	Roundhouse: The attacker swings his/her leg sideways in a circular motion, kicking the opponent's side with the front of the leg, usually with the top of the foot (called the instep), ball of the foot, toe (if careful), or shin. Also performable is a 360 degree kick in which the attacker performs a full circle with his/her leg.


	Hook: The hook kick strikes with the heel from the side (or flat of the foot in sparring). It is executed similar to a side kick. However, the kick is intentionally aimed slightly off target in the direction of the kicking foot's toes. At full extension, the knee is bent and the foot snapped to the side, impacting the target with the heel. Back: Also called a donkey kick, spin kick, mule kick, or turning back kick. This kick is directed backward keeping the kicking leg close to the standing leg and using the heel as a striking surface. Most often, this kick is delivered with a spinning motion. It can be highly damaging due to its power and is said to be the most powerful kick in Devil Boxing. Side: The Side Kick refers to a kick that is delivered sideways in relation to the body of the person kicking. There are two general ways in which a side kick can be delivered. The first involves chambering the kick by bending it and cocking it back (recoiling it, in other words) before you kick. The second involves shooting the leg forward as you would in a front kick and then pivoting and turning so that you actually deliver a side kick.


	Crescent: The leg is bent like the front kick, but the knee is pointed at a target to the left or right of the true target. The energy from the snap is then redirected, whipping the leg into an arc and hitting the target from the side. This is useful for getting inside defenses and striking the side of the head or for knocking down hands to follow up with a close attack. Axe: An axe kick is characterized by the straightened leg coming down on an opponent, like the blade of an axe. The starting phase involves the foot being moved upward, like a crescent kick. The arc motion is stopped,then the attacking foot is brought down to strike the target from above, in imitation of an axe. The arc can be performed in either an inward (counter-clockwise) or outward (clockwise) fashion. Hurricane: The Hurricane kick is done by doing a large circular motion with both feet in succession, making the combatant airborne. There are many variations of this kick. The kick may look like a slanted aerial cartwheel, and at the same time, the body spins horizontally in a circle. You would have to jump with one leg while kicking with the other, then move the kicking leg down and the jumping leg up into a kick, landing with the first kicking leg, all while spinning.


	Blocking Essentially using the Hands, Arms and Legs to block incoming strikes from an opponent.


	Pak Sau: Loosely translated as Slap Blocking. Executed properly a slap block looks like just that, slapping the opponents offending appendage so that it directs the force away from your body so that it flows past you harmlessly. An example would be if you were standing in a fighting stance and an opponent threw a left jab at you; you would turn your shoulders slightly to the left and slap with the right hand striking the opponent's left arm just below the wrist thereby deflecting the force harmlessly away from your centerline causing it to travel past you (An advanced move would be to then grasp the left wrist with your left hand thereby trapping it and you would then pull your opponent toward you while delivering a crushing right punch to his face). You can execute a Slap Block to just about any type of attack because you are simply just slapping the opponents appendage and redirecting the force away from you. Gan Sau: Loosely translated as Wrist Blocking. Executed properly a wrist block is the exact opposite of a slap block. You are still directing the force away from your body but instead of slapping it with the palm you are striking it with the back of the hands upper wrist area. This type of block would be utilized if you wanted to move inside your opponents guard rather then outside of it as when using slap blocking. (An advanced move inside your opponents guard is to deliver a strike to a vital area such as eyes,throat or groin). Inside Block: An inside block deflects a strike away from the defender. For example, against a straight punch to the face, an inside forearm block would aim to meet the inside of the forearm of the attacker, pushing the punch outward, leaving the opponents facing each other. Outside Block: An outside block deflects a strike away from the defender and across the attacker. For example, against a straight punch to the face, an outside forearm block would aim to meet the outside forearm of the attacker, pushing the punch outward, leaving the defender slightly to the side of the strike causing it to miss. Upper Block: Standing in forward stance with lead arm held up with outside boney side of forearm in a 45 degree angle over head to deflect blow coming from above. Lower Block: Standing in forward stance with lead arm held down with outside boney side of forearm in a 45 degree angle to deflect blow coming from below. Upper Cross Block: Crossing arms at wrist level while placing back edge of hands together so knuckles are almost touching ,arms at a 45 degree level over head so as to block and strike simultaneously at a strike from above. Lower Cross Block: Crossing arms at wrist level while placing back edge of hands together so knuckles are almost touching ,arms in front of you at a downward 45 degree angle so as to block and strike simultaneously at a strike from below.


	Shin Block: Essentially lifting the leg so that you take the impact of a blow on the shin instead of on a softer part of your body.


	Defense There are several basic maneuvers a boxer can use in order to evade or block punches or kicks.


	Slipping: Slipping rotates the body slightly so that an incoming punch/kick passes harmlessly next to the head. As the opponent's punch/kick arrives, the boxer sharply rotates the hips and shoulders. This turns the chin sideways and allows the punch/kick to "slip" past. Sway or Fade: To anticipate a punch/kick and move the upper body or head back so that it misses or has its force appreciably lessened. Also called "rolling with the blow" or " Riding The Blow". Duck or Break: To drop down with the back straight so that a punch/kick aimed at the head glances or misses entirely. Bob and Weave: Bobbing moves the head laterally and beneath an incoming punch/kick. As the opponent's punch/kick arrives, the boxer bends the legs quickly and simultaneously shifts the body either slightly right or left. Once the punch/kick has been evaded, the boxer "weaves" back to an upright position, emerging on either the outside or inside of the opponent's still-extended arm/leg. To move outside the opponent's extended arm/leg is called "bobbing to the outside". To move inside the opponent's extended arm/leg is called "bobbing to the inside". Parry/Block: Parrying or blocking uses the boxer's shoulder, hands, arms and legs as defensive tools to protect against incoming attacks. A block generally receives a punch/kick while a parry tends to deflect it. A "palm" or "cuff" is a block which intentionally takes the incoming punch/kick on that portion of the defender's hand, arm or leg. The Cover-Up: Covering up is the last opportunity (other than rolling with a punch/kick) to avoid an incoming strike to an unprotected face or body. Generally speaking, the hands are held high to protect the head and chin and the forearms are tucked against the torso to impede body shots, the legs are positioned to protect the groin with shins out to absorb blow. When protecting the body, the boxer rotates the hips and lets incoming blows "roll" off the guard. To protect the head, the boxer presses both fists against the front of the face with the forearms parallel and facing outwards. This type of guard is weak against attacks from below.


	Trapping: Trapping is usually accomplished by transiently trapping an opponents limbs (usually the hands or arms) and following up with short range strikes. Usually by grabbing an opponents arm as he strikes and holding it immobilized against your body leaving them open to counter strikes.


	The Clinch: The clinch where knee and elbow techniques are used. The clinch involves pressing the head of the opponent downwards, which is easier if the hands are locked behind the back of the head instead of behind the neck. Clinching is a rough form of grappling and occurs when the distance between both fighters has closed and straight punches cannot be employed. In this situation, the boxer attempts to hold or "tie up" the opponent's hands so he is unable to throw hooks or uppercuts. To perform a clinch, the boxer loops both hands around the outside of the opponent's shoulders, scooping back under the forearms to grasp the opponent's arms tightly against his own body. In this position, the opponent's arms are pinned and cannot be used to attack.


	Grappling Grappling is the grasping of your opponents limbs and executing joint locks or bending your opponents joints against themself so as to cause pain and either temporary or permanent injury and choking or grasping your opponent about the neck so as to cause unconciousness or death and lastly throwing ones opponent.


	Joint Locks: A joint lock is a grappling technique involving manipulation of an opponent's joints in such a way that the joints reach their maximal degree of motion. These typically involve isolating a particular joint and leveraging it in an attempt to force the joint to move past its normal range of motion. Joint locks usually involve varying degrees of pain in the joints and, if applied forcefully and/or suddenly, may cause injury, such as muscle, tendon and ligament damage and even dislocation or bone fracture. Common Joint Locks are Arm Lock, Leg Lock, Wrist Lock, Small Joint Manipulation.


	Guillotine choke — Applied in front of and above the opponent, holding their neck in the crook of the elbow. North/South choke — Applied from the north-south position with opponent facing up. Uses the biceps to cut off blood flow on one side of the neck. Takes longer than most chokeholds to take effect. Rear naked choke — Applied from behind the opponent, starting by looping one arm around the neck so that the crook of the elbow is under the opponents chin, then placing the hand of that arm on the opposite biceps. The other hand is then placed on the back of the opponents head and pushes the opponents head and neck forward into the crook of the flexed arm. Additional pressure may be applied by pinioning the opponents lower body by locking the legs around the opponents waist(referred to as "hooks") and arching the back to place more force against the neck.


	Triangle choke — Applied from below, with the opponent's neck trapped in a triangle formed by their own arm and the attacker's thigh and calf.


	Throwing Throwing is the art of physically picking up your opponent and throwing his body onto the ground or into objects to stun, injure or even kill.


	Body Slam - Basically picking your opponent up by brute physical force and slamming them onto the ground or into objects. Hip Throw - A hip throw involves using the thrower's hip as a pivot point, by placing the hip in a lower position than an opponent's center of gravity.Basically grabbing your opponent and rotating your hip so as to throw them over and away from you. Leg Throw - Grabbing an opponents leg during a kick or grabbing one or both from under them and using it as leverage to throw them.


	Shoulder Throw - Grabbing your opponent by there arm, shirt, neck and pulling them toward you and using momentum to launch them in desired direction. A popular move is to grab their shirt, fall back onto the ground and as opponent is pulled on top of you, place feet in there torso and as you roll you kick them above and over you.


	Weapons Though Devil Boxing is primarily an unarmed form of combat, members starting at Advanced Rank Red Belt have been known to take up small 1 handed weapons and use them as a basic extension of their arms. Examples would include knives, forearm length sticks of wood or steel and some members have even had gauntlets made with steel claws similar to Katta. The current Grandmaster of Devil Boxing is known to favor a tomahawk and knife combination which he wields with deadly proficiency.


	Physical Conditioning The practice of making the body stronger through resistance training such as lifting weights or bodyweight exercises and by conditioning the lungs and heart by an ancient old practice called-running.


	Training The training curriculum will consist of stretching, physical conditioning, practicing movements and techniques and sparring to be able to put all knowledge learned to practical use. It will also increase physical strength, speed, endurance, stamina, reflexes and physical and mental focus. The exact detail of how the training is conducted is at the discretion of the Grandmaster and only those whom have been promoted to Master Rank. However no PCs whom hold Rank of Master may promote any other PCs to any Rank without authorization of Grandmaster (That would be me!).

The Mad One · July 18, 2009, 04:31 AM


	LEGION OF THE DAMNED Tavern and Inn


	Description: As one travels through the infamous settlment of villians and rogues, known as Frigid River, one's eyes are drawn to many curious sights. There are many fine eateries, armor shops; you name it and there is a merchant somewhere making a crown off it. Once one passes the more populated parts and decends into the darker, less fortunate, outskirts of the settlment it is as if a whole new world unveils itself. Tucked away near the southwestern border, just outside the mines and lumber camps, the legion of the damned inn and tavern exists. The outside appears as if it was once an old stone barn, a jail perhaps. Large ancient trees overhang the cracked stone roof and vines climb the walls giving an ancient air to the place. A stable in the rear can be seen housing many a travelers horse, cart, and whatever else may be needed. Hay and a roof over its head was an assured thing and at a fair price, just a crown a darkening will do. The front double doors are made of oak and reinforced with large brass bands. They remain open at all candlemarks yet one may not enter so freely. Two large beings clad in black leather hide, muscled and masked, stand guard each holding a large crossbow and carrying a quiver of many arrows. "State your name and business" they bellow in unison. Once one gains admittance they come upon a large smoke filled room, filled with old, cracked small round tables complete with chairs and a candle on each. People can be seen gambling, bardering, discussing business. and trying to gain the attention of the scantily clad bar wenches. A large oak U-shaped bar rests on the rear wall and is crowded with ilk from thieves, rogues, mercenaries and a few whispered to delve into even darker arts. To the left wall is another door made of steel. It was locked with a heavy bolt and flanked by two more dark guardians complete with crossbows. Each had a large dire wolf at their feet whom was set to the tak of gnawing on some type of bloody flesh. Any who ventured too near may find a nip from the wolves was enough to change one's mind. To the right wall is the entrance to the kitchen. It housed a wall length grill, three ovens and numerous tables and utencils. A door led to a well in the rear yard and a small meat cellar was seen through a trap door in the floor. A large basement dwells underneath and can be reached by trapdoors from both behind the bar and in the secured back room. The second floor housed rooms for rent. It was reachable from a stairway that began on the right wall just before the kitchen door, and other services may be discussed with one's hostess when shown to a room. Whispers can be heard amongst those here of bodyguards for hire, protection among the ranks for those wanted by others, black market purchases and even espionage. Whispers only.... rumors of the one's clad in black, a legion of mercenaries outcast from society and blood loyal to each other. A bellowing voice breaks one's concentration as glances were cast to the bar. The barkeep, Artos, towers above all in his presence. Corded muscle strains in his large shoulders and arms as he carries up two kegs of black ale from the basement and slams them on the bartop. Brewed in his very basement it is said to be able to knock out a giant in one swill, yet Artos downs it as if it was nothing more than water. Upon closer inspection you observe him to be of Northern stock. The candles on the wall glow off of his clean shaven head, and looking to his face, you see a large scar extending out from beneath a patch worn over his left eye. A large beard engulfs his face and hangs in braids at the bottom that fall onto his massive shoulders. For one so large he moves with grace as he fills mugs of ale for paying customers and the like. His chest looked as if he had a lager barrel under his shirt that pressed at the seams of his faded brown tunic. A slight protrusion of his belly indicated that he enjoys a bit too much of his own brew. It is seen to shake whenever he became amused and gave a deep laugh. Looking to be a man of about fifty eras or so, he gives off the appearance of a farmer or perhaps an old shiphand based on the foreign tattoos that cover his arms. Catching your gaze he raises a frothing mug and shouts, "Welcome to The Legion of the Damned, come in and feel free to open your purse, if it hasnt already been swiped off yer belt," he bellows inciting a chorus of laughter from those about the room.


	Goods & Services: Menu: Mead, Ale, Beer: 1 gc Wine: 2 gc per glass, 10 gc per bottle Spirits: 3 gc Fruit: 1 gc Bread & Cheese: 2 gc Fowl, Pork, Beef or Goat: 3 gc Rooms: 3 gc With bath -5 gc Stables: Per Horse- 2 gc Companionship: Handled by the Courtisans Guild. Enquire within.

NPCs:

Secrets :

Facts:

Secrets :

The Mad One · July 18, 2009, 07:44 PM

Legionaire Encampmet (All welcome for Trade, Barter or Guidance)

Riding through the countryside one takes in the exisite beauty of all things wild. The sound of birds chirping and the wind blowing are but a few of the pleasantries one experiences while milling about here. Just around a thick group of foliage one can hear water as it rushes over boulders and rocks and flows in total bliss forming a river; plentiful with fish, fowl and all the life that delves in such places.

Along the riverbanks one eyes numerous tents which surround great canopies with numerous people here and there. Travelers come to and fro, trading and bartering. Food and drink is sold here, supplies for travel are bargained for by many in need.

Amongst the crowd one can see many great men clad in black. There heads are masked by the black hoods of the Legion of the Damned. Mercenaries, Bodyguards, Rogues, outlaws and men who just wish to escape one life for another. There heavily muscled arms hang from sleevless black tunics. Covered in foreign tattoos of symbols and strange beasts. This is just one of thier camps similar to the others that can be found in the wilderness areas outside of most cities and towns. Friendly enough not to bother the common folk, they band together like brothers and protect their own meanwhile offering services for hire that are not spoken of in civilized circles.

One canopie is just slightly larger than the rest. Great black burlap hanging from four great lengths of wood provides shade to those seated beneath it. A makeshift desk is there, formed from two great logs that have been roughly shaped. A dwarf sits there looking strange in comparison to his large comrades. Coming closer you can smell the smoke coming from his powerful imported cigar that hangs from his lips.

"Gustav is the name. Taking your oath and giving you a new life is my game. " Obviously this portly little fellow is in charge of helping those who seek refuge, adventure or escape; a way out and into the world of the Black Legion as it is known in some circles

Stargrace · July 18, 2009, 08:08 PM

Hi dear

Did you make up the knuckle boxing write up by yourself, in such a little amount of time? - if you did then i think it is best to submit it in the apt skill section and put it down as a draft for other aelyrian's (whom are most likely more apt with knowledge in this area than i) to comment on it etc

Now for the Legion of the Damned i went and put it in the general FR template and gave it a quick edit.

Few things:
- as with all the other locations, you need to add the npc and facts list to this location (see below) it means that a lot of the description of the barkeep can go in the npc part rather than written in the main description area, just leave in the necessities, or minimise the amount of detail you have written in the main description.

[frame=dimgray]

[spoiler][/FONT]
[i] [b] Name: [/b] [/i]
[i][b]Race, Age & Gender: [/b][/i]
Place NPC's Race, Age, and Gender Here
[i][b]Physical Description, History & Behavior:[/b][/i]
Place Description Here
[i][b]Skills:[/b][/i]
List All Skills Here
[i][b]Items or Property Of Note:[/b][/i]
Place All Items or Property Of Note Here
[i][b]Can this NPC be used by players in self-moderation or training situations?: [/b][/i]
Answer No, Yes, or Yes With Permission
[/spoiler]
[/frame]

[frame=dimgray]
[color=#000000][size="4"]Facts:[/size][/color]
[FONT=&quot][spoiler][color=#ffffff]
[i][b]District:[/b][/i] Mercantile
[i][b]Type of Location:[/b][/i] Business
[i][b]Notability of Location:[/b][/i] Common Knowledge
[i][b]Training/Employment Opportunities:[/b][/i] No
[i][b]Can This Location Be Self Moderated?:[/b][/i] No
[i][b]Credits:[/b][/i] Stargrace
[/spoiler]
[/frame]

Prices - the prices are a bit too cheap esp the room, was that just for a darkening? have a look at other locations and get an idea of pricing the spear and skull alehouse is the cheapest for drinks there is -and that's because it is of low quality- but we don't want FR to be considered the nasty cheap kind of place by having too many places underpriced, does that make sense? You can certainly be more generous than other places in the realm but have to be realistic as well.

The Alliances do not need to be known to the pc in the actual location - this is detail to add in the actual guild writeup.

now the part that starts 'the whispers of.. ' talking about assassin's are you meaning the shroud guild? As that's the assassin's and we dont want there to be too much assassin's groups around - makes the shroud less unique.

I have just been notified this location is still up and running in another place of the realm (i thought it had only entered into the realmcrafting stage) you can't re-use locations i'm afraid dear; you can have it similar but at the least it will need different names, npc's, loction set up, etc etc

Make the changes or get in touch if you dont understand or you need help or clarification on something, dear.
When the changes are made i will come and give it one last approval before can post it up.

Thank you.

Stargrace · July 18, 2009, 08:18 PM

Just noticed project three

The proper guild has to be set out like the other guilds so have a look at them in the city profile and fill it out like that
- i think you will have the most difficulty with working out the ranks. It is usually the case.

Remember this guild has to stand unique, be different to the others and offer something different and not otherwise available so the pcs can find it worthwhile thus no assassins in this guild - they can work something out with the shroud, if need be though - that is fine.

Specialising in fighting and the things i talked to you about in the PM is good: Black Market, Bodyguards even, espionage... etc

Creating a guild is quite a hard task to do and takes a lot of time and thought so no rush.
I'm here to guide you and help you out as much as i can dear.

The Mad One · July 19, 2009, 03:58 AM


	LEGION OF THE DAMNED GUILD for Outlaws, Scoundrels, Misfits and the general unwanted. "Give us your tired, your poor, your outcast and unwanted; for in the end days they shall rise against you and the meek shall inherit the earth!"


	DESCRIPTION: Ages ago a group warrior was cut off from their army behind enemy lines. They were hiding in the mountains, injured and near death. They were found by a old warrior whom took them in and nursed them back to health. Upon the warrior's recovery the old warrior taught them an ancient hand to hand combat art called Lin Keui Do commonly referred to as Devil Boxing. The old warrior also taught them the ways of the ancient God of nature along with basic tenaments to live by. Of those warriors one survived and founded a guild of sorts, taking in other veteran warriors whom had been scarred by to many years of killing. Over the years this group of warriors became known as THE LEGION OF THE DAMNED. They offered shelter among their ranks to the lost, outcast, unwanted misfits of society. As the years went on they also became a refuge for those on the run, wanted and outlaws seeking protection and wanting to start over. Upon enetering the ranks each member is trained to expert proficiency in hand to hand combat, specifically the art of Lin Keui Do or Devil Boxing. The guild is self supporting as they often hire out as bodyguards and bountyhunters. Due to the mast majority being ex military or from the darker side of life, they also have an extensive underground network and deal exclusively in the black market underground being able to buy, sell or transport just about anything. They are known to operate locally out of THE LEGION OF THE DAMNED TAVERN & INN.


	Ranking Structure: Each member is trained and holds rank in the hand to hand combat system of Lin Keui Do. The day to day operations of the guild are run similar to a mercenary outfit since most members are ex military. Therefor the rank structure is modeled accordingly as follows: Chief Captain Leiutentant Sargeant Corpral Private

Skills and Abilities

Secrets :

NPC's

Chief

Secrets :

Captain

Secrets :

The Black Legion

Secrets :

Facts

Secrets :

The Mad One · July 19, 2009, 10:58 PM

OOCSay what you wish to

Facts:

Secrets :

Duvel · July 21, 2009, 12:34 PM

If the average person survives on just 15gc/cycle I'd dare say that your prices are actually too high.

The Mad One · July 21, 2009, 07:15 PM

Quote:

Originally Posted by Duvel

If the average person survives on just 15gc/cycle I'd dare say that your prices are actually too high.

I had them lower and someone actually mentioned they were to low so I raised them and now you say there to high. AHHHHHHH!!!! lol

I will have to rework them once again so that they are acceptable to the poor and middle classes. DOnt care to much for the rich.

The Mad One · August 2, 2009, 01:19 PM

Flower's Duet

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Specifically intended for those with duel short swords, this style focuses on switching immediately between several "dances", that are themselves a repeating sequence of constant simultaneous attacks an defenses, designed to be ended by conditional counter attacks and evasion techniques. It's intention is to keep those with shorter weapons at bay with constant steam of sword tip thrusts and out maneuver those with weapons of longer reach, usually brushing against them like a knife fighter. The name of this fighting style is an intentional indication of the synergistic relationship between footwork and sword work, styles of footwork which are named after roses, and orchids for sword work respectively.

The roses comprise of several colors, all of which signifying different movement patterns which follow imaginary arcs typical of layers of rose petals. Familiarity of being able to adopt any of the roses while in any other rose is a stage of talent titled "black rose", which the student must first attain before the first of the orchids can be taught. Progression through this fighting style entails mastery of increasingly more complicated orchids, and after becoming of "Ghost Orchid", the most demanding of the sword-arts, the teaching of another two to the same level is expected before recognition of Grand Mastery, "Whisper Orchid" is acknowledged.

Historical Roots

The gypsies do have an impressive unarmed combat style termed "Ataa", which it is mainly used to resolve domestic troubles, but defending caravans from beasts like bears or wolves however required deterrents only blades provide. Being nomadic the need for a sword fighting style that would exploit their lack of cumbersome amour while remaining highly effective against stronger beasts was devised, thus this style was born. Many records exist implying some gypsies have harmonized this art to incorporate trained fighting wolves or more exotic pets, but if those rumors are true, it is only a style they tightly keep within their own kinship. Although gypsies generally guard knowledge of this art, they have been known to train traveling performers and occasional sailors that have demonstrated rare jenerosity to their caravans.

Orchid Focus Summary

Wild Orchid Introduces the first two the four core forms that refine combat with fast or very fast opponents but it does have little defense that caters for opponents with heavy weapons
Silk Orchid Introduces the remaining core forms which specializes in managing opponents with heavy weapons.
Choir Orchid Focuses on swapping between core forms to dynamically manage several opponents.
Ghost Orchid Refines tactics for all forms.
Whisper Orchid (Grand Mastery) is not a true Orchid in its own regard but a tier which opens unusual abilities unavailable to some of "ghost orchid"

Each Orchid consists of one or "forms", usually likened to animals. Each of the core forms has a dances or general state the fighter will be in while assuming the fighting form, the forms have techniques which are designed to exit these dance (usually as counter attacks).

There are not many parry's or direct blocks in this fighting method, instead deflection of attacks plus body positioning if necessary to deflect attacks just enough so they miss, or better yet to use the force of strong blows advantageously is the focus of defense for this fighting style. Those knowledgeable of the art focus most of their lethality on vicious counters for evaded blows of the opponent who has placed force in a strike or body blow. Side swings are rare and usually only adopted in counter attacks.

The main focuses of the Flowers Duet is:

Encourage your opponent to over reach or overbalance while evading their powerful blow, allowing lethal counter assaults.
Be pressing the attack such that opponents are always on the defensive such that they do not have time to create effective feints.
Have rapid alternating succession of upward arcs of both swords, primarily as deflection rasps (not direct blocks) which can turn into attacks if met without resistance.

Requirements of this fighting style involve

The fighter being highly flexible, (requiring gymnastics or dance)
Lack of heavy or hard amour
Lack of a helmet of any kind, although headbands and tiaras that do not slow the motion of the head are acceptable.
Not be carrying items that may distort their natural point of balance, or impede rolls or other basic gymnastic maneuvers.
If boots are adopted they must not have horse-spurs, spikes nor studs on their sole.
As Frequent changing grips is essential for this art, swords must NOT have non-slip grips and if gloves are adopted they must have rough leather palms.
The lack of a protruding hand guard is required as the style requires the swords light and constantly be in motion and only be contacting other weapons with the surface of the blades alone.
The fighter can not be fighting close to allies while in dances of any form other than the moth unless they are trained in the same style and of tier "Choir Orchid" or beyond.

Weaknesses

Those of this fighting style can not be safely placed in close formation with fighters of other arts, and only can coordinate with others advanced in this style. Also many orchids technique require additional skills (Meditation, Dancing or Gymnastics, Meditation, Singing, Sword throwing, Tactics)

Ideal Attire

Boots Soft soled springy boots that do not retard spinning movements are perfect, they can still be heeled, but only slightly (one and a half inches)

Sword belts If swords are kept on the hips, it is preferable to use rings to hold the swords instead of scabbards as even soft scabbards can interfere with this style's rolling movements.

Swords Swords best suiting the followers of the flowers Duet have minimalistic pommels (ends) so there is no hindrance to drastic grip changes. Ideally made of elven steel or better, but those made of heavier metals (like dwarven steel) would be fashioned thinner to be of same weight as their elven counterparts (but would give the fighter slight advantages when used in the wasp form). Swords specifically designed for this fighting style named after music terms for tempo, "Andanter" for a singular sword, and "Vivace" for two or more.

Typical Andanter
(Flower's Duet Short Sword)

Ideal Armour: For this style, mesh armor is hands down the most preferable to all other typical armors, but the student is further encouraged to pay for such amour to be further modified to have thin bands of thicker metal fixed to the mesh's exterior which loop over areas prone to injury. The extra weight of these custom bands add another third to the plain mesh's weight, however if done with quality workmanship, the protection they provide more than compensates for retardation the extra weight infuses. When further coupled with a custom under-layer of silk and soft leather over layer, the armor ensemble is called a "Skyn"

Skyn Armor's Banding Layer

Curves of conformity which continue outside their reference are simply reminders to the crafter where front bands interweave with the sparser but thicker set of rear-covering bands (no bands leave the contours of the body)

Some lines extending over their area of coverage, eg chest lines being shown to partially cover areas of shoulder movement only serve as curve guides for bands when the body is at rest. (The finished bands do not continue over these areas)

Gloves Armour gloves (or gauntlets) effect this fighting style more than any other, gloves should be what this style term "Cerns". Cerns are gloves with the topside armored in a manner typical of skyn body armor but with the underside of fingers and plams fashioned by very rough leather similar to sharkskin. As most Andanters have slippery grips, rough leather gloves is vital for grip to be ensured when the weapon is wet.

Armour Modification Costs

These combined modifications usually drive the price of the amour for all but the hands to double that of pain mesh, but due to very fine near-jeweler demands needed for amour work about the fingers, Cerns can typically start at five and be to ten times the price of plain mesh gloves.

Wealthy fighters of this art spend a considerable fraction of their wealth replacing metals within their custom steel amour with increasingly expensive substitutes. Those doing so usually upgrade with the following priorities:

Cerns re-enforced bracing
Skyn re-enforced bracing
Cern mesh
Skyn mesh

Katas
Solo Stretching, Form and Breathing practices

To keep lithe and flexible while honing the merging of movement and swordplay, Katas are adopted which to the untrained eye seem like slow dance routines. Actually sequenced routines acting as effective as warm up and stretching excersises that cover all the techniques within an orchid, these rituals are encouraged to be practiced as slowly as possible, preferably with a metronome while in front of mirrors. The main benefit of doing so exposes slight posture or balance flaws to the fighters that they may be unaware of which their technique may hide when hastened.

Singing new katas is initially useful for the student to obtain correct breathing patterns, however, once the fighter is familiar with an orchid, its breathing becomes instinctual. However many still singing them unnecessarily to keep in singing form, a skill which greatly aids communication in battle.

Ability Progression

() - brackets only imply for some techniques, not the tier generally

	Skill Level	Kata	Req. Meditation lvl	Req. Combined Gymnastics/Dance/Acrobatics lvls	Tactics	Singing	Attempt-able Forms	Refined Forms	Mastered Forms
Wild Orchid	1 (Initiate)	Hum of the Wild Orchid	-	1	-	-	Humming bird, Wasp	-	-
Silk Orchid	2 (Veteran)	Song of the Silk Orchid	-	2	-	-	Mantis, Moth	Humming bird, Wasp	-
Choir Orchid	3 (Expert)	Hymn of the Choir Orchid	1	3	(1)	(1)	Siren, Sphinx	Mantis, Moth	Humming bird, Wasp
Ghost Orchid	4 (Master)	Chant of the Ghost Orchid	2	4	(2)	(2)	All shadow forms other than Shadow of the Rose	Siren, Sphinx	Humming bird, Wasp, Mantis, Moth
Whisper Orchid	5 (Grand Master)	Chant of the Ghost Orchid	3	5	(3)	(2)	Shadow of the Rose	All shadow forms other than the Shadow of the Rose	Siren, Sphinx, Humming bird , Wasp, Mantis, Moth

General Notes

Thrusting is better against those with rigid armor, slashing is preferable however as it keeps your swords moving.
Most hard amour is weak for upward thrusts.
Attack, defense, evasion is mainly footwork.
The best defense is to be attacking constantly, none can feint when defending
Fighters focus on only just avoiding or deflecting not stopping their swings completely.
swords are only gripped tightly when expecting contact, otherwise hands quickly become weary and rigid.
Those following this style constantly watch for body blows as opportunities for counter attacks.
Unless avoiding or using an opponents momentum, heavier weapons usually require both forward and rear sword strikes to deflect
Against opponents with rapiers, wasp is immediately adopted but attacks are aimed at their prime sword arm, not their body.

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The Roses
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The roses are dances of footwork designed to have both feet resting at pinnacles of "petals"of an imaginary giant rose (when viewed from the top). While in movement, the fighters steps move about ridges to the next destination "petal pinnacle". This forces the fighter to position their weight as evenly on both feet as often as possible.

Mastering this footwork is a stage when the student is deemed to be "of black rose", a vital phase for learning any of the orchids, Wild Orchid being the first integrated fighting form of the Flowers Duet Fighting style.

There are four roses:

White Rose circles the center of the rose pattern from left to right while facing the center
Yellow rose circles the center of the rose pattern from right to left while facing the center
Green Rose circles the center of the rose pattern from left to right while one's back is towards the center
Red Rose circles the center of the rose pattern from right to left while one's back is towards the center

When within a particular rose, both of the fighters feet will be tracing a "Layer of petals". When between roses, one foot will be on an inner petal layer, the rear foot on an outside layer.

When between roses, one side of the fighter is forced to be closer to the opponent than the other, these "in between" states are typical states most orchids forms "dance" between. Adopting "pure" roses is only done when the fighter is focusing on evasion.

Learning all roses allows:

Fast change of directions due to footwork.

Quick swaps into different roses

Immediately adoption of basic gymnastic maneuvers such as rolls, spins, back flips etc.

Another ability the fighter needs in this style more than most is the ability to anticipate what the opponent will do by being acutely aware of he opponents body movements. Noticing slight hip and shoulder movements is vital for the fighter to assume correct counter blows which this style relies on for lethality.

Reading Intended Body Blows

	Signs of intention
Knees	If your very close to your opponent and notice that their legs are moving but their hips are not trying to go anywhere.
High Kicks	If your not very close and notice that their legs are moving but their hips are not trying to go anywhere and their knee is bending early its a low or mid kick.
Mid or low kicks	If your not very close and notice that their legs are moving but their hips are not trying to go anywhere, and their knee is arcing up while bending late its a high kick.
High punch and upper thrusts	Hand close to shoulder, then extending like a dagger weapon braced like a hatchet, or fist closed. elbow extends quickly
Head but	Those headbutting will move their head back slightly before hey press forward quickly.
Grapples	Grapples occur when your opponent has one or both arms free, which have seeming to overstretched while coming at you, their underside of their elbow usually towards your neck.
Shoulder Barge	Shoulder barges are easy to see as they adopt what looks like an elbow blow forming but they brace it to their chest.
Elbows	If they already finished an attack with an arm but still are keeping their hand near their shoulder, or are moving their hand to their shoulder with its weapon pointed high. Elbows while holding weapons limit them to be from above or below vertical to their spine.
Stomach thrusts and punches	Stomach blows thankfully you can see coming a mile away they extend their forearm from elbow a lot sooner than you think they would, while their elbow is low
Sweeps	Opponent is ducking while spinning.

Key

Shoulder leans are when the hips stay center but shoulder and upper body moves, the shoulder of the direction one is leaning towards goes up and the other drops down.

Hip leans are simple leans where shoulders stay positioned but lowered, where the hips bow rearwards or to one side.

Evasive Notes

Moving between back flips and cartwheels or air rolls is very useful if arrows are raining or if the fighter is being surrounded.

All core forms constantly movements intended for deflection, only if they are unopposed are they extended into attacks.

If deflecting late, the fighter deflects the tip of the opponents weapon, if the attack is seen early, its more effective to deflect a weapon when pressing on a point closer to their hilts.

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Silk Orchid

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The Wild Orchid has two core forms called the humming bird and the wasp, both of which are a constant repetitive sequences that are primarily defensive deflecting motions that can turn into attacks if the opponent can not defend against them. The humming bird focuses on swings, the wasp is more focused on rapid thrusts, but both are designed to easily move into the other in a heartbeat. Both the wasp and the humming bird are orchestrated to prevent one sword striking the sword or arm of the other even if they are amidst deflecting opponents blows. The wasps are ideal when in cramped conditions, although it is very tiring, as such it is usually adopted in bursts when necessary.

Hum of the Wild Orchid
(Kata)

"White be color of Aelyrian wings and perhaps it's so of doves,
But what calms me more be pillowed hum, but from only you my love
But woe what wakes me from such sleepy sunder now? be worse than bumble bee!
Luck seen it fly to you Wild Orchid, for so oh gods thank-yee !"

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The Humming Bird

Unless adopting the wasp or a counter attack, the fighter of Wild Orchid will usually in a phase of the humming bird, a form which is a rapid unending cascade of swings of both swords striking towards the opponent from low to high.

Starting Stance

One is between roses, whichever side one's shoulder and hips are closest to the opponent is deemed the fighter's forward side.
One is holding their swords naturally, like hatchets or axes, but not too tightly.
One's forward sword is across their body about throat level parallel to the ground.
The fighter's rear arm is behind the fighter with their rear sword pointing to the sky.
Elbows and knees are bent. All of them.

Dance of the Humming Bird Phases Summary

Waxing Moon, forward sword reverse loop (more detail below)
Full Moon, forward upward loop - rear knee forward - rear sword reverse loop. (more detail below)
Waning Moon, forward sword now moves to reverse sword high, rear sword is now on an upward loop and moving into a reserve loop. (more detail below)

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Dance of the Humming Bird

Waxing Moon is when one's forward sword moves back towards them, away from the opponent to curve down across one's body to the side of their rearward hip

Full Moon is when one's forward sword has moved past their rearward hip and arcs upwards towards their opponent. When it moves past their hip is also when the fighter brings their rear-knee forward, (pretend a string is momentarily attached to the fighter's forward wrist pulling their rear-knee forward during its upward arc). This is also the time their rear sword starts to curve backward and down in an arc past their rear-ward ankle.

Waning moon is when the fighter's forward sword moves to the position their reverse sword started in but on the opposite side of the fighter.. During the waning moon the fighter's rear sword's upwards arcs towards the opponent, which will then follow into into a reserve sloop of its own waxing moon, starting the next repetition of the moon phases.

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The Wasp

A rapid unending cascade of slight vertical swings from both swords from low chest level to high (throat and face of the opponent) that end in thrusts. Each arc is used to deflect fast incoming thrusts if necessary but if not opposed will turn into thrusting attacks.

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Dance of the Wasp

Sting of the Wasp

This phase can be entered by a transition from the humming bird or as a continuation of this forms dance. If transitioning from the humming bird, while weapons are flowing through any upward arc of the humming bird phases, instead of letting continue to swing to the other side of one's body, the wrist can be changed to straighten to make the blade become extensions of the fighter's forearms while the momentum of the blade is used to home the sword into a spearing attack. Swords doing so will not continue through the humming bird dance but will have entered the sting phase of the dance of the wasp. If the sword sword has previously been retracted while in the flight of the wasp, the elbow immediately extends while the point curves upward to defect an attack or ideally seek to land a thrusting blow on the opponent. Regardless of the method the sting of the wasp was delivered, the sword then move into a the "flight of the wasp", a phase preparing it for another fast thrust.

Flight of the Wasp

After the sting of the wasp is applied the swords remains held at shoulder height while being pulled back until the pommel of the sword is hand's width in front of the fighter chest while the sword tip droops to point towards the opponent mid section. While in this position the fighters elbows will slightly fair to the side which the arm belongs.

_

Both swords repeat this motion in alternate phases so while one is mid strike the other is pulling back in order to strike again.

When used defensively against thrusts the wasps act more like slashing upwards and the thrust is sacrificed to give the sword more momentum in its deflection. Hands will be moving in a teardrop shaped ellipse, its tapering point closest to the fighter, its rounded curve rasping away opponent's thrusting attacks.

When used aggressively one's hands move in very thin pinched loops, its tapering point aimed wherever a strike is desired, usually face, throat, chest or arms. Although viscous the wasp are very tiring attacks.

It is useful to offset timing for each thrust so opponents can not easily be predicted when the next will arrive.

Transitioning back to the humming bird is simply a matter of replacing
the flight of the wasp with the relevant reverse loop of the humming birds phases.

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Cornered Wasp

The cornered wasp is an alternative to the wasp which the fighter adopts when in very cramped conditions, if facing a knife fighter or another with faster thrusting weapons like rapiers, or if the fighter fights themselves lying on their back while being assaulted from above.

The cornered wasp is a rare stance which is independent of footwork, releasing its limitation however does sacrifice power its motion provides.

Angered Wasp

Angered wasp another alternative to the wasp, identical in all respects but the strength from the fighters twisting body, is dispensed into the blows. The angered wasp only used when one is sure they don't have to defend an incoming blow.

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Silk Orchid Counters Attacks

Silk Orchid counter attacks are evasions the wasp or the humming bird can fall into from specific assaults that also end with a counter blow.

Pins

Pins is a defense and counter attack from very powerful swings aimed at a side of the fighter but is also used against shoulder barges and stomach punches. While in the humming bird, one doesn't follow through with its full moon sweep but instead slows it down to have the blade rasping against the opponents weapon in deflection. While doing so the fighter rotates their Waning moons reserve upward sweep up to also meet it such that both the forward and rearward swords hilt catches, crossing swords in an "X" shape.

While bracing against the opponent's strike, the fighter doesn't try to stop its momentum or even deflect it, but will be using it to power to move the fighter to the side of the opponent that their weapon is traveling to. Once the crossed swords meet their weapon, the fighter rotates in a swivel, their back momentarily facing the opponent until the spin has them facing them again. While doing so the sword that is across the body leaves bracing hte opponents weapon and executes a vicious upward slash or thrust before the previous form dance is continued.

When spinning the fighter keeps their chin near their collar bone to prevent the opponent being tempted to head but the fighter.
When used to counter body blows, the bracing is not applied and the fighter spins without aid, however, the follow up counter attack is retained.

Needles

Needles is a defense and counter attack from very powerful blows from above. It also looks impressive but does require one to know how to roll quickly. Like the pin, one slows down their full moon sweep to meet with ones Waning moons Reserve upward sweep up in a cross (X shape) against it. After which the fighter lets their body become limp and bend like a snake to fall towards their opponent. The fighter intentionally stays under their blow while their swords are bracing against it while using it's momentum aid a roll to either side of the opponent.

The fighter stands from the roll turning towards their opponent while slashing upwards with their closest sword. After which the fighter follows through as if in the humming birds full moon and continues the same form's dance.

Fickle Pin

One can see sweeps coming as the opponent will duck while spinning, for leg strikes their forearm extends towards ones legs, both can be countered by the Fickle Pin. An alteration of the Pin designed to manage low blows directed at the fighter, the fickle pin is combrised of the following motions;

If the opponent attempts a low blow on the fighters forward side (which knee is closest to the opponent) the forward sword waxing moon reverse sweep does not follow through into the upward sweep but stays low to meet the opponents blow, while the rear sword during full moon does not follow through into an waning moon upward sweep but instead stays low while sweeping across the body to meet the forward sword in a cross shape while the fighter crouches.

If the opponent attempts a low blow on the fighters off side the rearward sword does not rotate to point downwards but instead moves to meet the opponents blade lightly while the forward sword's upward sweep follows into a second reverse sweep across the body to brace against the forward sword in a cross "X" shape while the fighter crouches.

Regardless of which method found both swords bracing against the blow, Once the swords are crossed the fighter continues with the spinning pin maneuver - albeit crouching, but the counter attack on completion is executed while standing, giving additional spring induced by doing so to the upward strike counter blow.

Thorns

Thorns are very basic additional evasions and counter attacks available to the wasp or humming bird requiring flexibility, fast leaning and for some,cartwheels and back flips.

"Seasonal" Thorns

The season reflects how much time those adopting thorns have to execute an evasion.

Summer thorns can be adopted if the attack is seen coming very early.
Spring thorns can be adopted if the attack is seem coming early
Autumn thorns can be adopted if the attack is seem coming late
Winter thorns can be adopted if the attack is seem coming very late.

Dynamic adoption of the appropriate "season" must be learned with practice with an opponent and can not through reading.

Spring and Summer Thorn Summary

These are counters for attacks seen early that do not require disengaging from the opponent for evasion to be successful.

Spring thorn

Is adopted for many close range attacks when seen coming very early, while still continuing in wasp or humming bird, instead of shoulder-leaning away from the flow of the attack like instinct directs, one leans further in the direction its coming from but overly so such that it just misses and overreaches. If in a wasp while doing so the next arc can be a powerful thrust into arm pit of the foe or in the side of the opponent's ribs. If humming bird is adopted while doing so a quick side wise slash into the same section is adopted.

Summer Thorn

Is adopted for many close range attacks when seen coming early but but early enough for a spring thorn to be feasible. Enough time however to evade by leaning in the same direction as the attack is moving while bending backwards, other than this action the wasp or humming bird is continued and pressed without resistance.

Autumn and Winter Thorns Summary

Attacks that can not be avoided with deflection (from wasp or humming bird arcs) and are too fast for summer of spring thorn to be used require disengaging from the opponent ideally with a counter attack before doing so.

Autumn Thorn

If the fighter can not manage a winter thorn, the autumn thorn is adopted. An autumn thorn is a fast backward movement from the shoulders toppling the fighter backwards to move into a backward roll away from the aggressor. While moving into the backward roll the current wasp thrust or humming bird attack is continued, hopefully catching a glancing strike on the opponent's chin, chest or arms before the roll quickly moves the fighter a few yards from their opponent and sees the fighter back on their feet again.

Winter Thorn

If the fighter has gymnastics skills to manage a cartwheel or back flip which instantly tucks the legs for the first half of the maneuver, the winter thorn should be adopted instead of the autumn thorn.

It starts with a fast backward movement from the shoulders toppling the fighter backwards while continuing with the last wasp or humming bird motion.
The legs are tucked for the first half of the backflip to stop them being hit, furthermore no attempt to kick the opponent is done as doing so may slow down the back flip enough to ruin its completion.

When cartwheeling or back flipping one always follows through with swords moving skywards high from the last attack while changing grip on them so ones thumb and finger tips are on their ridge, so as they lands briefly in a moving handstand, the swords flush with the floor, and the fighter's weight is on their palms pressing on swords handles lying flat on the ground, not own their own fingers. As one's weight is moving off the hands, the grip instantly changes to the humming bird grip on the swords allowing them to flow into the humming bird dance without pause.

This can gain more distance faster than autumn thorn, and can be easily continued into subsequent back flips.

Cartwheels and back flips can be further improved into "air rolls" which do not require touching the ground with hands at all, this involves jumping with both legs tucked in a roll within the air to only touch the ground again on both feet in a standing position.

Straight Thorn

A counter specifically for headbutts, if seen coming (see reading body blows above), one leans backwards slightly but keeps their chin close to their collarbone wile looking at the opponent constantly. Regardless of the form the fighter is in, the current attack is maintained.

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Wild Orchid Summary

Incoming Attack Evasive & Counter

	Evasive & Counter
High overhead swing light & fast	Next Humming bird or wasp loop arcs as deflection not an attack if have time else Autumn or Winter thorn.
High side wise-swing light & fast	Spring Thorn if have time, if not Next Humming bird or wasp loop arcs as deflection not an attack with shoulder lean if necessary
Mid-section swing light & fast	Spring Thorn if have time, if not Next Humming bird or wasp loop arcs as deflection not an attack, same with shoulder lean if necessary
Loin-Leg swings light & fast	Spring or Summer Thorn if have time, else Next Humming bird or wasp loop arcs as deflection not an attack if have time, add Hip lean and footwork change if necessary
High thrust light & fast	Next Humming bird or wasp loop arcs as deflection not an attack add shoulder lean and footwork change if necessary
Mid-section thrust light & fast	Next Humming bird or wasp loop arcs as deflection not an attack add shoulder lean and footwork change if necessary
Loin-Leg Thrust light & fast	Next Humming bird or wasp loop arcs as deflection not an attack add Hip lean and footwork change if necessary
High overhead swing slow & powerful	Needle if have time, otherwise Autumn or winter thorn
High side wise-swing slow & powerful	Pins if have time, otherwise Autumn or Winter Thorns
Mid-section swing slow & powerful	Pins if have time, otherwise Autumn or Winter Thorns
Loin-Leg swings slow & powerful	Fickle Pin if have time, otherwise Winter thorn
High thrust slow & powerful	Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Mid-section thrust slow & powerful	Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Loin-Leg Thrust slow & powerful	Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Stomach punch or dagger thrust	Pins if have time, Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Elbows	PINS if have time (ie spinning elbow) - Spring Summer thorn.
Knees	PINS if have time, else Hip lean and footwork change while pressing humming bird or wasp
High punch and upper thrusts	Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Head but	Straight thorn then press wasp or humming bird.
High Kicks	Pins if you have time, Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Mid or low Kicks	Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Shoulder Barge	Pins if seen very early, or autumn,winter thorns if seen late or very late
Grapples	Summer thorn, autumn thorn or winter thorn
Sweeps	Fickle Needle if have time, otherwise Winter thorn

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Silk Orchid

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The Silk Orchid would be the backbone to the flower's duet's prowess, as it does provide an array of devastating options for the fighter when facing heavily armored opponents or those with heavy weapons. It is especially effective against opponents with shields. For fast opponents the Wild Orchid's remains most appropriate. The Silk Orchid is composed of two forms the Moth and the Mantis.

The Mantis motions exploit the elasticity of the arm and shoulder muscles in a unique manner only available to short swords and focuses on extremely powerful mid range strikes and furthermore has "kissing distance" alternatives to the Wild Orchid counters. The mantis requires requires mastery of the "moth" to ensure its very fast grip changes do not result in the fighter accidentally disarming themselves.

Song of the Silk Orchid
(Kata)

"Both silent and forever wretched that awful pest the Moth,
one twirling about my candle now on my table cloth
many sheets and pleats Ive lost from your mothy chew
One Hole here, another there, not one patch will do !

But towards you pet mantis creep to see your likes in shame
Up my candlestick she goes with pincers accusing blame
Your last dusty wing beats flickers flame light so
Just dusty sheds what mantis gets? This luck time you go.

So now Preens the Mantis Queen, regal dignity resumed
Now praising of you Silk Orchid, respectful prayer assume
Yawning her arms lighting-like extend as if hug another
Oh new moth to candle seen ! She be hungrier than ever!"

YouTube - flower mantis

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The Mantis

This technique requires the sword held in semblance to a praying mantis forearms. This is when the fighters upper arm acts like the mantis' coxa, forearm liked like the mantis' femur, fighters , and the sword itself acts as the mantis tibia.

(the tarsus the mantis creature uses for preening purposes).

Instead of gripping the swords like one may hold a club (pointing up from the wrist. the blade in the same direction as an extended thumb) the Mantis grip is where they are held like ice picks (pointing down from the wrist, away from the thumb). The advantage this hold has the over humming bird or wasp holds are include

Elasticity of the shoulder and arm muscles can be tapped as very powerful lightning whipping attacks which are so fast is highly difficult for the opponent to time defenses for.

All Rasping Deflections are very powerful due to contact being perfectly positioned for arms natural strength

The Mantis has some major flaws :

Its does have the speed suitable for fending off fast thrusting attacks.

It doesn't have the reach true wasp thrusts provide.

Core Mantis Motions

Mantis Slash

Like the humming bird or wasp this is primarily a defensive rasp which can extend to be an attack if themselves not checked or deflected adequately.

By firming the wrist and elbow and just moving the shoulder, strong braced motion of the sword can be delivered by just rotating the shoulder to move the arm upwards, the effectiveness is increased by last moment wrist adjustments. The mantis Slash can easily be followed through into the Mantis Stake if adjustments find a weakness in the opponents amour, doing so would be performing "Mantis Slash and Stake"

Mantis Stake

A powerful forward thrusts delivered by rotating the arm so the elbow doesn't point downwards but to the side which the arm belongs, following which the wrist is moved upwards (rotating towards the thumb) and elbow extends, this blow can be increased in power by adding weightful shoulder motion. The Mantis stake can flow into the shedding moth, allowing adoption of the humming bird or wasp grip without jeopardizing power of the attack.

Mantis Rake

Like the humming bird or wasp this is primarily a defensive rasp which can extend to be an attack if themselves not checked or not deflected adequately.

A high to low motion which is an almost mirror image of the Mantis Slash's low to high motion. This method uses the rearward tip of the blade to graze the opponent forward legs as the sword is being retracted via the shoulder. This uses the same part of the blade the Mantis Scythe uses but is no where near as powerful, The Rake is mainly used not to injure but to aid a grip change from Mantis back to the wasp via the technique Shedding Moth, if rasping along a surface, or via Falling Moth if no surface is available.

Mantis Chisel

Used to puncher the thighs and knees of the opponent, perform quickly loin attacks and kill opponents lying prone, this "unethical" attack moves the sword from a high position to vicious downward strike like an ice pick intended to drive the point deeply into the opponent and then quickly be extracted without twisting in a quick "bouncing" motion. The bouncing motion reduces damage but also decreases the chance of the sword getting stuck. Mantis Chisel can flow into the shedding moth (allowing adoption of the humming bird or wasp grip) without jeopardizing power of the attack.

Mantis's Curse

An attack most shield using opponents never suspect - an attack to part of their arm behind the shield they are carrying. First a mantis slash is attempted to place the swords tip over the top of the shield of the opponent. Once done, the mantis chisel can be used to savage the opponents shield arm. Following which it is then quickly be extracted without twisting - in a quick "bouncing" motion. The "bouncing motion" reduces damage but also decreases the chance of the sword being caught and torn from the fighters hands. The Mantis Curse can flow into the shedding moth (allowing adoption of the humming bird or wasp grip) without jeopardizing power of the attack.

Mantis pick

A staggeringly brutal spinning thrust which is delivered by

Fristly orientating the arm so the elbow doesn't point downwards but to the side which the arm belongs, (like the mantis stake). Secondly the elbow extends while the fighters body rotates in the direction of the extending elbow until their back is towards the opponent. If the right arm is extending : rotate clockwise, if the left arm is extending; rotate anticlockwise.

If the blade thrust finds home it will deliver a piercing side strike to the opposite opposite side (ie if right sword is used, it should deliver a spearing hit to the left side of the opponent (from the fighters point of view). After executing the Mantis pick, the fighter can either execute a mantis double pick or use the shedding moth motion to remove the blade such that its back in the humming bird grip (to commence the humming bird maneuver).

Mantis double pick

If the fighter manages a mantis pick and either hits or fails to connect, feet are left positioned (back facing the opponent) while shoulder rotation continues (hips stay centered with the fighters legs) - the fighter then uses the twisted moth to move their non-mantis'ed sword into a mantis grip if not already so (to ensure the opposite hand adopts it), this enables a mantis pick attack from the opposite arm also. This second attack uses the spring gained from unwinding a near full body twist which can have even more power than the mantis pick.

Mantis Scythe

A hybrid of the mantis stake and mantis rake exploiting muscles used for both. The wrist initially moves upward while elbows move from a folded to an extended position, part way though its extension the rearward side (not the front like the rake) of the blade connects and hooks with the target, after which the fighter continues extending the elbow while the wrist moves downwards (relative to forearm, away from the thumb). The fighter then uses their full weight or untwisting force to pivot on the area as the elbow rapidly retracts and shoulder pulls away from the opponent.

This very fast springing whip-like strike is unique for sword swords and travels like a thrust but acts like a thrust coupled with a whipping slash. Because this is a springing action, using all elasticity the arms and shoulders can provide, it is considerably faster and more forceful than most swings or thrusts short swords are known to provide, however, its range is not as great as true swings or thrusts.

So much force is unleashed in this spring it can

Disarm heavy weapons (if the weapon is struck close to the hilt)
Singularly repel very strong incoming swings (the only attack which parries directly in the flowers duet)
Occasionally Snap wooden staffs and wooden clubs cleanly
Dismember or behead the unarmored or lightly armored opponents.

This motion can be delivered any time the fighters hand is close to their body while the elbow is folded. The shedding moth can be performed during this attack to re-assume the wasp grip (or humming bird grip), however, choosing to do so greatly reduces the power of the assult.

When both swords are used in this manner simultaneously a "Mantis Prayer" is performed.

Prayers of the Mantis

If both swords happen to be in "twin pupa" position, two twin simultaneous Mantis Scythes can attempted with both swords, during which the swords will be overlapped, forward sword above the rear sword. Both blades strike at either side at the target (the rear of right blade striking the left of the target (from the fighters point of view), the rear of the left blade striking the right of the target. The reason why dismemberment is common from these assaults is due to the the places being attacked not having time to buckle, their rigid position makes them prone to snapping cleanly (as if braced in vices) while hit with a hard chipping action. Shedding moth for either sword can be preformed during a Mantis Prayer to re-assume the wasp grip (or humming bird grip) however choosing to do so greatly reduces the potency of the attack. These attack are impressive but infrequent as fighters seldom have both swords in the mantis grip. After the attack is performed, the fighter will step forward or back while the sword of the forward side goes high and the rear sword adopt pupa ... such that the mantis dance can continue without pause.

Sky Prayer of the Mantis

Alternative to the Needle counter attack, requires both swords to be in the Mantis Grip

When an opponent is performing a powerful overhead blow, a mantis prayer is performed targeting the very wrists the opponents is using to deliver the blow. If even one sword connects properly, the force will at least ruin the opponents grip on the weapon, making it sail over the head of the fighter harmlessly. If both connect cleanly there is a very good chance the wrists of the opponent will be dismembered, even if heavily armored.

Wind Prayer of the Mantis

High blow, Requiring both swords to be in the Mantis Grip

The wind prayer of the mantis follows the same motions as the sky prayer however the attack is aimed at the opponents head or neck. Clean hits can easily result in beheading the opponent.

Rain Prayer of the Mantis

Mid Strike both swords to be in the Mantis Grip

The Rain prayer of the mantis follows the same motions as the sky prayer however the attack is aimed at the opponents waist. Although boastful fighters have claimed to sever bodies in two with these attacks, their claims are high dubious as unlike the other prayers these attacks are taught to aimed by thrusting into the belly to cause the opponent to be gutted, not to be cut in two.

Sea Prayer of the Mantis

A leg Strike requiring both swords to be in the Mantis Grip

The Sea prayer of the mantis follows the same motions as the sky prayer however the attack is aimed at the opponent's front leg's thigh. Although fighters have claimed to de-limb with these attacks, their claims are high dubious. If the attack is clean however, the opponent's leg is likely to be severely damaged.

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The Dance of the Mantis

Instead of progressing through the humming bird's Waxing, Full and Waning Moon Cycles both swords follow the Mantis Pupa, Chrysalis and Mantis Bloom motions asynchronously (During which when one sword is in pupa the other is finishing a Chrysalis and moving into Bloom. Likewise when one is in bloom the other is moving though into chrysalis).

Mantis Pupa

The sword is tensed pointing downward, forearms close to upper arms, hand positioned between just below shoulder height in front of the chest. From this position the;

Mantis Dance can be continued

OR

Mantis slash, Mantis scythe, Bow of the Mantis, or if both weapons are in pupa, a mantis prayer can be performed.

Mantis Chrysalis

Either;

A single fast Mantis Slash from low to very high

OR

Two strikes slicing across the body in a wedge shape are performed, the first being a light mantis slash across the opponents leg, followed by a high Mantis Scythe to the opponents neck or head.

Regardless of which was chosen, the swords can follow through to any of the Mantis Bloom options.

Mantis Bloom

Many options are available to the Mantis during the Bloom phase, they comprise of;

Red Moon: Mantis Stake (can be adopted if the slashes found a vulnerable area of the opponent)
Dark Moon: Mantis Curse (can be adopted if the slash swept over the shield of the opponent)
Blood Moon: Mantis Chisel
Eclipsed Moon : Mantis Rake usually adopted to move the grip into the wasp/humming bird grip via the shedding moth.

Regardless of the Bloom chosen, the sword is then returned to the pupa position.

Increasing power (By the fighter putting shoulder and weight behind the below) to a Mantis Chrysalis can delay its recovery such that a bloom is not conducted but the sword adopts pupa in a such that BOTH swords are in pupa position simultaneously. This "twin pupa" position is vital starting state for any of the mantis prayers.

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The Moth

This form was created to refine fluid grip changes, allowing the fighter to move the sword between different core form grips without without dropping the blade or losing the timing of their subsequent motion. The term moth was adopted to liken these grip changes to the moths ability to shed scales to avoid being gripped by predators without requiring a separate action to manage the effort. This form requires short-swords with hilts that do not have dominate ends (pommels) which are neither spiked nor studded.

Hovering Moth

(moves grip from humming bird to mantis, requires the blade to be braced against a deflection)

If an upward movement of the humming bird undergoes a heavily rasping deflection, the momentum can be bled to also rotate the sword into the mantis grip (using the fingers to hold the sword while rotating the grip over pommel of the sword tightly). The deflection which can be used for this grip change can be against any surface including opponents amour and weapons. When using an opponents shield to change grip in this fashion, the fighter will be perfectly positioned to execute a Mantis's Curse.

Twisted Moth

(moves the sword from a humming bird to a mantis grip during spinning, does not require contact)

Moves the sword from a humming bird to a mantis grip at the peek of body twisting in recovery from a spinning attack while executing the Mantis double pick (adopted during the sway pf the mantis) or the Wild Orchid Pin's maneuver.

Shedding Moth

(moves grip from mantis to humming bird grip, requires contact )

The shedding moth requires the blade to be braced against a surface and is the safest way to move back to the wasp grip or humming bird grip. If a mantis pick, stake or double pick or the mantis Rake connects with the opponent (or surface), the shedding moth can be adopted as a method of bracing against what the sword is connecting with while using it as a pivot to rotate the grip over pommel of the sword tightly to subsequently retract the blade back in the wasp grip. This allowing fluid adoption of the wasp or humming bird technique afterward. Shedding moth can be also be performed
during a Mantis Prayer or scythe, however doing so for these methods greatly reduces the damage they inflict

Gliding Moth

(moves the sword from a humming bird to a mantis grip mid waning moon reverse sweep, does not require contact)

Instead of using the reverse sweep of the humming bird to give upward momentum to an upward sweep towards the opponent, the motion is used to change the grip to the mantis grip.

Falling Moth

(moves the sword from a mantis grip humming bird without contact, does not require contact)

Instead of using the force of a Mantis rake to inflict damage, the hand moves in downwards in a loose grip allowing the sword to move into the humming bird or wasp grip. No surface is required for this technique to be adopted.

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The Dance of the Moth

This is the only non grip change technique of the moth, and is adopted when one hand assumes the mantis grip while the other has the humming bird grip. The Dance of the Moth entails the sword with the humming bird grip following its typical Waxing Moon, Full Moon and Waning Moon motions, but the sword that assumes the mantis grip follows the Mantis Pupa, Mantis Chrysalis and Mantis Bloom instead. Due to the options the mantis gripped sword provides dancing in this form is more freestyle than any of the other core forms. It intention however is to be an excellent default form to easily move to pure humming bird or mantis dances. Dynamic grip changes adopted to do so when in this dance are detailed in the Hovering, Shedding, Gliding, Falling Moth techniques respectively.

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Silk Orchid Counters Attacks

Sway of the Mantis

Alternative to the Pin counter attack, requires the sword on the opposite side to the incoming blow can already be in the mantis grip or can be adopted via the gliding moth in its waning moon reverse sweep

Similar to the Pin maneuver however the rear sword instead adopts a mantis grip using the gliding moth before the swords are crossed (if te sword is already in the mantis grip the gliding moth is not required). After which the Pin maneuver is continued, but the counter strike will be a mantis pick (or double pick).

Bow of the Mantis

Alternative to the Fickle Pin counter attack, requires the sword on the side of the incoming blow to be in mantis grip

Instead of performing the typical Wild Orchid's Fickle Pin, a Mantis Scythe is performed with the sword on the same side of the attack, the blow is very forceful and can be used to fend off strong low attacks, The Scythe is a very powerful spring assault of the blade, allowing heavy blows to be defended without the need to tumble nor roll, very useful if the ground isn't suitable for rolling or if the fighter is injured and cant manage tumbles. After which the sword is returned to the "Mantis Pupa" position.

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Silk Orchid Summary

Grip Changes

	Evasive & Counter	Summary
From Wasp or Humming Bird to Mantis	Hovering Moth	Requires wasp or humming bird strike to rasp against opponents weapon or armor or shield
	Twisted Moth	Occurs during the peek of body recovery twists while executing the Mantis double pick or Wild Orchid's Pin maneuver.
	Sway of the Mantis	Adopted automatically via Twisted Moth
From Mantis Grip To Humming bird/Wasp grip	Shedding moth	Adopted when mantis pick, stake or double pick or the mantis Rake connect with surface
	Gliding Moth	moves the sword from a humming bird to a mantis grip mid waning moon reverse sweep

Grip Change Note: Wasp to humming bird is just an upward rotation of the wrist),

Silk and Wild Orchid Evasion & Counter Summary

Note: Although Moth and Mantis slashes have been listed for light fast attacks, they require expert timing, making typical Wild Orchid counters preferable.

	Evasive & Counter
High overhead swing light & fast	Moth's Next Humming bird or wasp loop arcs if have time , with lean if required else Autumn or Winter thorn.
High side wise-swing light & fast	Moth's or Mantis Slash/Rake or Spring Thorn if have time, if not Next Humming bird or wasp loop arcs as deflection not an attack with shoulder lean if necessary
Mid-section swing light & fast	Moth's or Mantis Slash/Rake or Spring Thorn if have time, if not Next Humming bird or wasp loop arcs as deflection not an attack, same with shoulder lean if necessary
Loin-Leg swings light & fast	Moth's or Mantis Slash or Rake, Spring or Summer Thorn if have time, else Next Humming bird or wasp loop arcs as deflection not an attack if have time, add Hip lean and footwork change if necessary
High thrust light & fast	Next Humming bird or wasp loop arcs as deflection not an attack add shoulder lean and footwork change if necessary
Mid-section thrust light & fast	Moth's or Mantis Slash or Next Humming bird or wasp loop arcs as deflection not an attack add shoulder lean and footwork change if necessary
Loin-Leg Thrust light & fast	Moth's or Mantis Slash or Next Humming bird or wasp loop arcs as deflection not an attack add Hip lean and footwork change if necessary
High overhead swing slow & powerful	Mantis Sky Prayer or Moth Scythe or Needle if have time, otherwise Autumn or winter thorn
High side wise-swing slow & powerful	Sway of the Mantis or Mantis Scythe or Pins if have time, otherwise Autumn or Winter Thorns
Mid-section swing slow & powerful	Sway of the Mantis or Mantis Scythe, Pins if have time, otherwise Autumn or Winter Thorns
Loin-Leg swings slow & powerful	Bow of the Mantis or Mantis Scythe or Fickle Pin if have time, otherwise Winter thorn
High thrust slow & powerful	Moth's or Mantis Slash or Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Mid-section thrust slow & powerful	Moth's or Mantis Slash or Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Loin-Leg Thrust slow & powerful	Moth's or Mantis Slash or Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Stomach punch or dagger thrust	Moth's or Mantis Slash or Pins if have time, Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Elbows	Moth's or Mantis Slash & Rake or PINS if have time (ie spinning elbow) - Spring Summer thorn.
Knees	Moth's or Mantis Slash & Rake or PINS if have time, else Hip lean and footwork change while pressing humming bird or wasp
High punch and upper thrusts	Moth's or Mantis Slash, Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Head but	Straight thorn then press wasp or humming bird.
High Kicks	Mantis Scythe or Pins if you have time, Season's Thorns (spring,summer,autumn,winter if seen very early, early, late, very late)
Mid or low Kicks	Bow of the Mantis, Hip lean and footwork change while pressing humming bird or wasp while using next wasp or humming bird arc to deflect
Shoulder Barge	Sway of the Mantis or Pins if seen very early, or autumn,winter thorns if seen late or very late
Grapples	Moth's or Mantis Slash & Rake or Summer thorn, autumn thorn or winter thorn
Sweeps	Bow of the Mantis or Fickle Needle if have time, otherwise Winter thorn

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Choir Orchid
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The core forms of the flowers duet are versatile when dealing with one opponent, but do have major weakness dealing with several. This orchid's forms addresses area awareness and offers advanced flourishes to the dances of all the core forms as well as a suite of specialized attacks to manage multiple opponents by taking advantage of the spinning turns and posture changes that result in the fighter changing their dances.

Many of these attacks are designed to increasingly unnerve opponents in an effort to lower the chance of receiving coordinated opposition until the fighter can square off evenly with one. Some creatures which have immutable confidence would not be effected by some of the accumulative moral leeching this orchid instills. Although some of these techniques are very powerful they do have very specific orientation conditions for them to be viable.

By leaning, fighters of this tier have a high chance to evade slow ranged weapons like spears, javelin or daggers and rocks if delivered by opponents of equal or lower ranking. Successful evasion of ranged weapons does require awareness and time for the lean to be conducted, as such many assaults (such as point blank throws from behind the fighter) will not be able to be evaded.

Types of Choir Techniques

	Explanation
Persistent Dance Flourish	A technique that constantly benefits a form's dance
Fleeting Pure Defense	An exhausting technique the fighter can only temporarily maintain to focus purely on defense
Fleeting Pure Offense	An exhausting technique the fighter can only temporarily maintain to focus purely on offense
Fleeting Dance Prelude	A movement conducted before entering a form's dance
Hampered	A state which makes use of just one weapon when using two swords is not feasible
Hampering	A state that the fighter intentionally chooses to hamper themselves (throwing one of their swords)
Tactical	A state which governs or effects the behaviors of others following the fighters directions.
Evasive	A motion intended only to maneuver the fighter into a more advantageous position, or to start a succession of cartwheels, flips or running dashes

Hymn of the Choir Orchid
Kata

My heads a maze when I dream you both my Siren and my Sphinx.
Others claim mythical but both be real be-tween twin-timed-kiss
Mix of purrs now hase which one be dancing to my minxy bliss
As sweet sultry song mute past painful memory of many screech and hiss

In me no more fight this twilight, lullaby'd lids now but drooping tinkers
No more love just peace please now from both your windy whispers
As tomorrow flightful whims may see your attention turn toward another.
But for me this darkening can end yet, pondering something Im else-wise fonder

You both seem distracted now my dears as into shadows you both slip
Was spoken truth of what said now see both you from this-scene dip ?
Awake Im now ! Without your warmness thwarting off this winters frost !
For me you say ? Both deserting - but alone in this maze im lost !

Such faithless thoughts you truly think really are the likes of usss ?
Just come around this corner here and you'll see our reasons thuss
Just one more step now oh yess that's it, our voices follow you mussst
Gloom be blindfold Gift as mess you've made is simply vassssst"

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The Siren

Sirens Sorrow

Posture & Form Requirements: only one sword is usable
Technique Type: Hampered

Uses a single sword hand in the Humming bird grip with the skill of one trained in single short sword of one rank lower in defensive respects and two ranks lower in offensive respects. While only one sword is available, the only other technique available to the fighter is the Tears the Sphinx.

If the fighter is skilled in throwing the swords, Lashings of the Labyrinth can be conducted before this hampered state is adopted without loss of timing.

Sirens Slip

Posture & Form Requirements: None
Technique Type: Evasive

The fighter feints a powerful strike against whatever opponent seems most timid, afterward the fighter doesn't conduct the blow but instead disengages to roll, cartwheel, flip or dive (into a roll) to a more advantageous position the moment the opponent brace against the feinted blow. Alternatively the evasion can continue by following through with a running dash or a succession of cartwheels or flips.

If the fighter is skilled in throwing swords, Lashings of the Labyrinth can be conducted, if done one or both swords can be during this disengagement.

Siren's Spite

Posture & Form Requirements: Wasp while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Pure Offense

All wasp assaults can be treated as independent thrusting attacks of one trained in single short sword of one rank lower than the fighter. Most useful when fighter is swarmed, but highly taxing on the fighter, and can not be maintained. This effect ceases the moment the Wasp is relinquished for another form. How long the fighter can sustain this state is governed by their rank in meditation.

Siren's Song

Posture & Form Requirements: Humming Bird while facing only one opponent
Technique Type: Persistent Dance Flourish

Starts a faint whisking of blades while in the humming bird by brushing swords edges as they pass by each other. This creates a surreal sound with a regularity which calms those within hearing range, making the fighter and the scene in general seem less threatening and more dreamlike. This effect ceases the moment the humming bird is relinquished for another form.

Sirens Scales

Posture & Form Requirements: Humming bird while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Pure Defense

Form dances are relinquished to use both weapons separately for warding off light thrusts and swings at one rank lower than the fighter for defensive purposes only. This is highly taxing on the fighter and can not be maintained. While in this technique is unlikely to injure opponents and is usually adopted to while maneuvering to a more advantageous position. How long the fighter can sustain this state is governed by their rank in meditation.

Siren's Scorn

Posture & Form Requirements: Moth while facing only one opponent
Technique Type: Persistent Dance Flourish

Every Moth attack can be delivered with to land blows that force extreme body adjustments from the opponent, similar in effectiveness to a blinding headache, opponents become more nauseous even if they evade successfully. This effect ceases the moment the Moth is relinquished for another form.

Sirens Screech

Posture & Form Requirements: Moth while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Dance Prelude

An near deafening high pitch ringing is produced in the Mantis sword as the humming bird gripped blade is quickly rasped against it - edge on edge. This creates a sharp sounding similar to like nails on chalk board which is so abrasive it disorientates all within earshot. This action is extremely harsh on the edges of the blades and even a single use would dull their edges considerably. Stunningly effective against any that have not heard it before. How tolerant the fighter themselves are to this effect is governed by their rank in meditation.

Sirens Scratch

Posture & Form Requirements: Mantis while facing only one opponent
Technique Type: Persistent Dance Flourish

Mantis rakes and slashes (The weakest but most frequent of the Mantis attacks in the Dance of the Mantis) are inclined to also spin opponents attempting to evade or deflect the attacks, throwing the opponents more and more out of balance or out of time with each successive Mantis strike directed their way. Very effective in difficult terrain or when the fighter has the high ground. This effect ceases the moment the Mantis is relinquished for another form.

Sirens Synchronousy

Posture & Form Requirements: None
Technique Type: Perpetual Tactical

When hearing a fighter of Ghost Orchid sing Kata phrases, the fighter can coordinate their own movements with one other fighter of Choir orchid tier or better. This coordination interweaves both fighters so unintended injury is avoided, while each benefit from other fighter's feints.

Furthermore fighters of this tier or higher have a chance to deflect blows which may land on their "dance partner" if they have a free sword to do so, the likelihood of this partnership benefit being conducted is a reflection of the fighter's rank in tactics.

When two or more of this art are coordinated in this manner they are termed "dancers", when "dancing" both of the fighters attempts at Sphinx's Tease, Riddle, Jest and Fool Techniques are considerably more effective.

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The Sphinx

Sphinx's Tears

Posture & Form Requirements: Only one sword is usable
Technique Type: Hampered

Uses a single sword hand in the Mantis grip with the skill of one trained in single short sword of one rank lower in offensive respects and two ranks lower in defensive respects. While only one sword is available, the only other technique available to the fighter is the Siren's Sorrow. If the fighter is skilled in throwing the swords, Lashings of the Labyrinth (see below) can be conducted before this hampered state is adopted.

Tease of the Sphinx

Posture & Form Requirements: When side-wise flanked by two opponents
Technique Type: Fleeting Dance Prelude

One opponent can be thrown out of time by a fast feinted hip and shoulder movement which encourages them to take a powerful swing in a direction the fighter knows they will not be near. Although this is not a counter and only delays their involvement, it is useful to ensure a counter to current opponent is completed without interruption. After the feint is attempted, the "dance" of the adopted form will be maintained.

Sphinx's Hiss

Posture & Form Requirements: Wasp while facing only one opponent
Technique Type: Persistent Dance Flourish

Starts a motion while the wasp form is retained where blades whisk against each others flat surfaces causing them to ring and sound like they coming from directions or at a timing they are not. Maintaining the hiss makes the fighters wasp assaults cumulatively more difficult to anticipate. This effect can be maintained but ceases the moment the wasp is relinquished for another form.

Jest of the Sphinx

Posture & Form Requirements: For Wasp or Humming bird while engaging two opponents and one is rear flanking the fighter
Technique Type: Fleeting Dance Prelude

Feinted leans and body orientation fools rear flankers into thinking that their presence is unnoticed, encouraging the to take a strong overhead or side attack attack that the fighter is prepared to counter. After the feint is attempted, the dance of the adopted form is maintained.

Fool for the Sphinx

Posture & Form Requirements: Wasp or Humming bird while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Dance Prelude

Non-harmful swordplay which infuriates or intimidates opponents, With the aim to make them more aggressive and reckless, or fearful and overly cautious. If the intention is to infuriate, the attack is accompanied with verbal taunts. If the intention is to frighten, eerie attire, silent unseen attacks and daunting scenery and strange sounds all greatly aid effectiveness on the opponents who witness it. Done by slicing off buttons, locks of hair, cutting of a long beard, ripping the straps of breeches, cape cords, flicking hoods, knocking hats off heads and freeing necklaces, this technique has increased effectiveness when used after previous successful attempts to unnerve the opponent. After the technique is attempted, the dance of the adopted form is maintained.

Sphinx's Riddle

Posture & Form Requirements: Moth or Mantis while engaging two opponents and one is rear flanking the fighter
Technique Type: Fleeting Dance Prelude

By being in the way of each opponent's view of each other the fighter times evasion of the next fighters assault such one opponents blow may likely be injure their ally instead. After the feint is attempted, the dance of the adopted form is maintained.

Sphinx's Jinx

Posture & Form Requirements: While in Moth while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Pure Defense

Form dances are relinquished to use both weapons separately for warding off heavy thrusts and swings at one rank lower than the fighter for defensive purposes only. This is highly taxing on the fighter and can not be maintained. While in this technique is unlikely to injure opponents and is usually adopted to while maneuvering to a more advantageous position. How long the fighter can maintain this state is governed by their rank in meditation.

Sphinx's Maul

Posture & Form Requirements:While in Mantis while engaging two opponents that are side wise flanking the fighter
Technique Type: Fleeting Pure Offense

Hands are orientated near hips such that thumbs protrude rear-wards while both mantis gripped swords hook frontwards briefly as spinning commences directly between two opponents while lashing out in scythes assaults ferociously at different heights independently. These independent assaults are managed at one tier lower than the fighter but are highly tiring on the fighter and can not be maintained. How long the fighter can maintain this state is governed by their rank in meditation.

Sphinx's Shame

Posture & Form Requirements: None
Technique Type: Hampering

One or both swords can be thrown while before entering, the Siren's slip, Sphinx's Tears or Siren's Sorrow Techniques without pause.

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The Labyrinth Siren and the Sphinx

After learning the choir's forms in isolation the teacher of this orchid will press the need to move in amongst many opponents in a manner which keeps the fighter exploiting their benefits. Effort is made to entertain counters and thus remain in the core form's dances such that the fighter can easily hop to the next desired siren or sphinx effect. When doing so the fighter is deemed to be "Running the Labyrinth", a skill requiring focus and flexibility to ensure back flips or reed-like movement land within moving sweet spots that litter battlefields. The Labyrinth is considered by some the mutual dance of both this orchid's forms.

Persistent Flourishes when facing one opponent

	Persistent Dance Flourish
Choir Orchid's Wasp	Hiss
Choir Orchid's Bird	Song
Choir Orchid's Moth	Scorn
Choir Orchid's Mantis	Scratch

Prelude and Persistent dance flourishes when against two opponents Side wise Flanking the fighter.

	Fleeting Dance Prelude	Pure Offense	Pure Defense	Pure Evasion
Choir's Wasp	Sphinx's Fool, Sphinx's Tease	Siren's Spite	N/A	Siren's Slip
Choir's Dance of Humming Bird	Sphinx's Fool, Sphinx's Tease	N/A	Siren's Scales	Siren's Slip
Choir's Dance of the Moth	Siren's Tease, Siren's Screech	N/A	Sphinx's Jinx	Siren's Slip
Choir's Dance of the Mantis	Sphinx's Tease	Sphinx's Maul	N/A	Siren's Slip

Prelude technique when rear flanked by two opponents
(to maneuver such that the fighter is only side wise flanked (required for continual engagement))

	Fleeting Dance Prelude
Flourish before adopting Dance of the Wasp	Sphinx's Jest, Sphinx's Jest with Siren's slip
Flourish before adopting Dance of the Humming Bird	Sphinx's Jest, Sphinx's Jest with Siren's slip
Flourish before adopting Dance of the Moth	Sphinx's Riddle with Siren's slip
Flourish before adopting Dance of the Mantis	Sphinx's Riddle with Siren's slip

Note:

Managing several opponents is not possible when adopting the Sphinx's Tears or Siren's Sorrow as the style is unused designed to manage one sword effectively.
Fluidly evading one opponent to engage in a one flanking behind the fighter isn't possible when adopting the sphinx's Tears or Siren's Sorrow

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Ghost Orchid

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Although unexpected assaults or assaults effecting a large area (such as a hail of arrows) will effect the fighter like any other, the fighter at this tier would have mastered the Labyrinth Siren and the Sphinx so instinctual their ability to remain uninjured amongst others that are not masters themselves is close to flawless. Footwork is so advanced the roses themselves seems to overlay on environment. As such this orchids forms is not dependent on the fighters own posture. Now the desire of the fighter is enough for their instinct to assume them. All objects and non-masters are pieces of a landscape of opportunities for forcing others to "dance" in the manner the fighter pleases.

Successive use of this form results in rapid morale loss to witnessing opponents.
only one "shadow" benefit other than shadow's trill or shadow's silence can be adopted at any time.
By sword-play and leaning fighters of this tier have a very high chance to evade or deflect all slow ranged weapons like spears, javelin or thrown rocks, and a moderate chance of evading fast ranged weapons such as arrows if delivered by another who themselves have not reached mastery of their relevant weapon. Successful evasion of ranged weapons does require awareness and time for the lean to be conducted, as such many assaults (such as point blank throws from behind the fighter) will not be able to be evaded.

Chant of the Ghost Orchid (Kata)

To forget the reason for mastery one surely must be mad
The nature of the meek or weak are not for others to be had

They are pearls and petals and for them it is my deep desire
To keep without either weeping from blades and frost and fire

Path be bathed with twinkles of stars not much lighter than the dark
But before all hope fades I see hints rekindled by renewing spark

Storm-lit clouds now show silhouette of lesson mistress fate be now teaching
Mirrors revealing fairy hands beneath fine pillow now be reaching

Waking find thankfully not mine while my coin purse still be clinking
Thirty silvers more what I had before, surely blessing be her thinking

Shared Grace of Gods and Goddesses guiding star see thy kneel in proneless pose
Such awing wonders you all reveal to humble servant of Black Rose

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The Shadows

Shadow of Silence

The fighter can silently coordinate their own movements with one other fighter using this style who is of choir orchid or better such that all movements interweave, preventing unintended injury while each benefiting from others feints. How long the fighter can maintain this state is governed by their rank in meditation.

Shadow's Shrill

Posture & Form Requirements: None
Technique Type: Tactical

(Requires Singing at rank 2 or higher )

While fighting the fighter can also sing different phrases of different orchid Kata's, by doing so the fighter can fight alone while coordinating two fighters of Choir Orchid or better such that their movements interweave with each other so unintended injury is avoided while each benefit from other fighter's feints. When two of this art are coordinated in this manner their Tease, Riddle, Jest, Fool Techniques are considerably more effective.
How far the fighter can project their voice is based on their rank in singing. While in this state the fighter can also be in a set with one another of Ghost Orchid tier or better. How long the fighter can maintain these states is governed by their rank in meditation.

Shadow of Natures Way

While remaining in any of the standard dances of the Wild or Silk orchids, in addition to whatever effects Choir Orchid provides, the fighter will also constantly be using every opportunity to brushing up against them - as there "shadow". While so the fighter will constantly position their stances intrusively while attacking to force the opponent to either overbalance or be in constant retreat in the direction of the fighters choosing. How long the fighter can maintain this state is governed by their rank in meditation. IF the fighter was managing only one opponent, the technique can furthermore be disengaged by using the opponent "environmentally"

Eg I: As jumping springboard for an air tumble in the direction of the fighters own choosing.
Eg II: push downstairs, over a railing, over a cliff, into the water... out of the frying pan into the ...

Shadow of Phoenix

If not managing other shadow techniques, fighter can at every opportunity be swapping to stay in shadow or be directly behind a light source such that those who watch the fighter are always refocusing on them slipping in and out of darkness. This causes opponent's irises to dilate and contract so they are constantly out of adjustment, lowering the effectiveness of any action they subsequently wish to perform which involves detailed sight. This however has only minor effects to any at a distance. How long the fighter can maintain this state is governed by their rank in meditation.

Shadow of Storms

While remaining in any of the standard dances of the core forms, all Choir Orchids benefits are scarified to instead time blows to which disarm opponents while also adopting footwork see opponents accidentally disarm themselves. How long the fighter can maintain this state is governed by their rank in meditation.

Shadow of Petals

During battle scenes that do not involve other masters, the fighter can defend one of similar size,or two of smaller size, who stay close by in a manner that does not jeopardize their or the fighters own safety. How long the fighter can maintain this state is governed by their rank in meditation.

Shadow of the Rose

Available only to those of Whisper Orchid standing

Unless opponents are themselves masters, the fighter's timing is so acute they can safely lean, bend, buckle, flip over or cartwheel though even dense battles safely while unarmed. How long the fighter can maintain this state is governed by their rank in meditation.

This is deemed the height of the flower's duet mastery rendering their stage to "of black orchid". Traditions of this fighting form hold boasting so is daring the offense of animal spirits, which would cause their "gift of grace" to leave their core forms. Adopting a simple small tattoo or wearing small jewelery which only hints it is considered due pride, while remaining humble enough to appease the spirits.

Once this has been proven the fighter's own faith opens up the following whisper orchid abilities

While singing Shadow's Shrill, allies of Choir orchid are instilled with an additional tier (aka rank or level) of all supplemental silks relevant to this art (tactics, meditation, acrobatics, gymnastics) and allies of Ghost orchid are instilled with equal tier of all supplemental silks relevant to this art (or one additional tier if their own is on par or better).
Non volleyed, non arcana assaults from arrows, javelins. spears, bolts, thrown knives, darts and the like not dealt by masters are "felt" coming, allowing evasion by leaning and swordplay.
Opponents witnessing these effects have massive addictive loss of morale and allies witnessing these effects have massive addictive gain in morale.
Can coordinate two sets of "duet" fighters (two per set)

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	- References - Static Artistic References Black rose on Book http://www.satanspace.com/m_pictures...lackrose_j.jpg Rose Pattern The Science Creative Quarterly » A YEAR OF FLORA: THE FLOWER MANDALA CONTEST Mesh Armor Strengthening Strips http://i166.photobucket.com/albums/u...sselindsay.jpg Air rolls: http://z.about.com/d/gymnastics/1/5/...ulaTribble.jpg Short Sword http://wiki.cantr.net/images/4/42/Steel_short_sword.jpg Humming bird http://www.projectinsect.com/paintin...mming_bird.jpg Wasp http://www.speakingofsegues.com/wp-c.../03/wasp-3.jpg Praying Mantis http://www.projectinsect.com/paintin...ing_Mantis.jpg Moth http://www.ahummingbirdsguide.com/Im...ry_blue_lq.jpg Siren http://images2.fanpop.com/images/pho...6-740-1023.jpg Sphinx http://www.wizards.com/mtg/images/da...ria_Sphinx.jpg Labyrinth http://www.mirrormazeusa.com/images/mazephoto.jpg Shadowed goddess http://www.shadowhousepits.com.au/goddess-face4.jpg Cinematography Flower Mantis YouTube - flower mantis Acoustic References (incidentally my inspiration) Flowers Duet http://www.mp3source.us/mp3/listen.php?name=Yanni_-_Flower_Duet_from_Delibes_Lakme_(Live_at....mp3&ur l=http://www.mp3source.us/mp3/get.php?id=687474703a2f2f6f6c69766b61652e77727a757 4612e706c2f73722f662f324f3033397972736950782f2e6d7 033 (Yanni Remix)

Sphinx · August 9, 2009, 09:56 PM

hey mad -