martial arts and crafts

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Finally had some free time to work on the plot for his manga.

Yubi Ishii - Bio (Work in progress.)

Age: 31

Birthplace: Doma

Sex: Female (cis)

Race: Boring ass midlander

Family:

Mother - Jiyang

Father - Chaiyun

Sister - Shii-yam

‘Husband/Mate’ - Khadan Arulaq ( @khadanthehunter )

Resident: Ul’Dah

Company: Astral Agents ( @astralagents )

Martial job: (Shinobi) Ninja art/Samurai art

Trade: Leather craft. Tea craft (Greenhouse/Hand roll.)

Alignment: Neutral Good

Mental Status: Normal

Cowboys & Samurai [Closed RP]

@gamfcowboy

Ever since practicing under his father’s tutelage after giving the first inkling of interest in martial arts, Hanzo Shimada had always dreamed of working as stuntman in movies. His perseverance saw him practice and perfect his craft before learning a new martial art. By the time he was 18 he had karate, tae kwon do, muay thai, krav maga and wing chun. He’d won several championships before being cast in his first movie at the age of 22 and from then on he continued until he eventually took over his father’s dojo when he passed while juggling the life of a stuntman. It was dangerous work but he wanted to commemorate his father’s memory in the only way he knew how.

Even at the age of 38, Hanzo showed no sign of slowing down. He added a new title to his already long list of achievements as one of the most requested stunt choreographers. Displaying a battle for an audience to enjoy was like conducting an orchestra to the Japanese man; it needed a rhythm and a hook to grasp their attention. Despite his explosive performances, Hanzo was reserved and often difficult to work with if he encountered untrained stuntmen.

His new casting as choreographer brought him to the set of a movie where eastern and western culture met in a post apocalyptic world. Hanzo was up earlier than usual at his dojo, setting up the mats and training areas for the stuntmen he’d be teaching and working with for this production. It was 8 o’clock but he had asked the crew to arrive at 8:30 am, leaving him enough time to enjoy his morning tea on the mat. The front door was already posted with information about the temporary closure of the school; studios usually paid him to use it for training so it worked out in his favor. It was also unlocked for any earlybirds but that usually wasn’t the case. Unless it was any of the stuntmen he worked with previously, most would arrive at the designated time. 

There was light music playing while he sat behind his front desk, queueing up the list for the training session. He had already spent some time creating some routines to break the crew in before they handled anything that would make it to the screen. He paused for a moment, reaching for one of the scrunchies in a drawer to put his hair up in it’s signature bun. It would have been smarter to cut it but to him that signified some sort of change and despite his success, Hanzo wasn’t ready to move on just yet.

kuh-boose  asked:

What styles/weapons would you suggest for a fighter who is a bit shorter/stocky, and is modified (scifi style) and has to deal with multiple, large, or powerful opponents(aliens and such). She’d need to fight both ranged and up close and personal, and she would need to be able to completely dispatch opponents as well as remove them from a fight without (too) serious injury. (I know, far fetched) And does personality affect what style someone uses(in your opinion)? I'm sorry if this is too vauge.

We get these questions about body type a lot, especially in regards to fighting and what style an author should pick. Ultimately, it’s more of a perspective issue and it’s understandable since the vast majority of Hollywood and Anime have a love affair with the “Five Man Band”. Anime often puts forward unique and individual fighting styles which match a character’s body in order to make them more visually distinct i.e. the big guy usually wields the big honking ass sword and relies on physical strength and the rail thin glasses guy is a tactician who is dexterous and quick, often with flawless technique. The Five Man Band is a very successful technique, at least visually. It works under the same rules for writing which state that you shouldn’t give characters similar sounding/looking names because it because it becomes difficult to distinguish them.

It’s probably the worst decider when it comes to choosing a fighting style for a character. Training itself changes and molds the body. If your female character starts out lithe and lean, learns a combat art which heavily favors the upper body such as boxing or kick boxing, she won’t remain that way for long. She’ll develop musculature in her chest which widens it (her breasts will also, probably, shrink), her legs will become thicker and more stocky, she’ll become more weighted in her upper body, her neck will thicken from the development of her shoulder muscles. Depending on her dedication, she’ll gain some very nice definition in those arms. You can expect a little thickness in the jaw. Depending on the kind of training and how long she’s been doing it, she may possess a scar across one eyebrow and her nose probably won’t be entirely straight.

Training molds you to it. Stop and take a look at professional or Olympic athletes like gymnasts or runners. Look at the U.S. Armed Forces, especially by division, and you’ll see something similar. Even though there are slight differences, there’s also a fairly impressive uniformity of body type. That’s the training. If I had to state a real pet peeve, it’s that this gets routinely ignored for female characters because it often leads to them possessing an “unconventional” body. By unconventional, I mean that they aren’t often within the standards or weight range of what society considers to be feminine or beautiful.

There’s a part to training where the body is sculpted and can significantly change what a person looks like. Professional trainers in Hollywood who cater to actors employ different training regimens to achieve different looks, to create a specific type of body. It’s actually something to keep in mind when looking at any actor: you’re seeing months, if not years, of dieting and specific physical training to achieve a singular result.

The kind of training a character engages in won’t change their height or the length of their arms, but it will have a significant influence on what they look like. What that is depends on the training involved.

So, what are the deciding factors?

What are they doing? What are they fighting? What is their job? What is their background? Who is training them?

The problem with “short/stocky woman” faces “multiple larger/more powerful opponents” is that’s the life of every short woman ever and they will need to learn to deal with it regardless of the martial style they pick. Martial arts are designed around the idea that the opponent will be a human being, and everything from the approach to the psychology is geared toward that. You don’t go box a bear and expect it to work the same way, because a bear and a human come with different considerations, different dangers. Now, people did box with bears. Bear boxing was a real side show performance, but bear boxing and regular boxing are different. Why? One of them is a bear. Also, the bears were historically abused and mistreated by having their teeth and claws removed in order to make it possible. Or, the boxer would have died.

My point is that the enemy one faces is the deciding factor in how one fights. You don’t go hand to hand with a Xenomorph. You don’t go hand to hand with a tentacle monster. You can go hand to hand with a Klingon, but it will be unpleasant.

The problem is that there is no one size fits all solution, not in real life and not in a future where everything is much, much more complicated.

Combat is a form of problem solving. To figure out what you’re solving, you have to figure out what the problem is. Then, you justify the solution. Martial training is used to support a setting, but to have one you need an enemy and aliens come in all shapes and sizes. And, the more variety there is, the more new and inventive ways one must come up with to counter the threat.

Subduing an opponent is all well and good, provided the character has a means to support that approach. This could be through tools such as handcuffs or weapons like a taser or a futuristic form of stun gun. The question is looking at the right group for the solution you want. In this case, if you want a character who uses a form of professional combat that predominantly focuses on non-lethal takedowns and subdual, you’re looking at police, their martial techniques and their H2H. When you’re looking for professional groups with a combat focus that orient on using violence as a non-lethal means to solving problems that’s law enforcement. It’s their job, they develop down that route. Other combat professionals don’t have the luxury. A great example of a fictional militarized police force is the Peacekeepers from Farscape.

Martial arts that come off of bloodsport are the runner up with varying degrees of success. The reason is that unless we’re talking about a death match, bloodsport is primarily entertainment and the goal of the fight is to entertain so it shies away from quick kills or more pragmatic combat. It becomes a war of attrition. However, these are martial arts with a primary focus on dueling and fighting single opponents. If there’s one lesson to take from Gina Carano’s Haywire, it’s that putting the wrong kind of combat on a character is debilitating. Carano is a fantastic martial artist, but MMA is far too slow and discordant for a spy thriller.

Making combat work will require a decent amount of worldbuilding from you for each alien type, plus hammering out technology and how that affects combat. (Ray guns, stun guns, cybernetics, etc.) Martial combat is a form of both individual and cultural expression, showing their values and priorities, how they respond to threats. To know how a character fights, you need to understand the culture they belong to and how they navigate it. This goes far beyond a character’s moral makeup or their pragmatism, the values their culture ascribes to and the threats they faced are the deciding factors in how a combat style developed… which shapes a huge portion of their lives and who they are.

Start to think about creating a toolbox for this character, much in the same way you would if you were writing a paranormal story. Different strategies for different types of enemies. Depending on setting rules, you don’t use the same approach to dealing with zombies that you do with werewolves and the same is true of vampires.

Dealing with a genetically modified human will require a different approach, just like dealing with a psychic will require a different combat approach.

Dealing with different alien species will require navigating their culture as much as their combat. After all, their culture defines how and why they fight. Every alien is an individual with their own reactions and responses to the social mores they follow. And, depending on the advantages the character in question possesses, they might not even be able to go into hand to hand so they’ll need a tool to deal with that.

A character’s personality may lead them toward the job type, institution, or training they sign up for, but the training itself will have the greater affect on their personality. Whether they are an actual participant in the system or hold the job is up to you, but if you want a character fight like a professional combatant then they need a professional’s training. Which means a teacher who is a professional of some kind.

In the end, it’s really a question of what you want and the kind of story you want to tell.

-Michi

References, Resources, and Recommendations:

Farscape - We recommended this one just recently, but really. Farscape.There’s a bevy of aliens here, with characters having to make use of minimal resources in order to survive.

Babylon 5 - We usually recommend this for politics, but I recommend it for it’s worldbuilding. Everything from accounting for different alien physiology to the handling of telepaths among different races, to various martial styles based on alien cultures, to hilarious misunderstandings based on translator errors, this series has a a lot to love for any writer looking to craft science fiction.

Stargate SG1 - This may seem like an oddball recommendation, but a lot of science fiction settings have all their cultures progressing at the same rate. Stargate is all over the map and it’s an interesting look at the different ways cultures develop when dealing with or faced by advanced technology. Campy as it is, you might find some neat ideas hidden in this one.

Psycho-Pass - We rarely recommend anime, but Psycho-Pass is a wonderfully well-developed dystopic future that’s a love letter to many older cyberpunk settings from Ghost in Shell to Blade Runner to the cult classic Johnny Mnemonic. It references 1984, Gulliver’s Travels, and a surprising amount of literature in its first season. It’s for mature viewers only and is fairly disturbing. But the reason why I’m recommending it to you is that it does an excellent job with the idea of a computer deciding who lives and who dies, of guns that won’t fire unless a person is above a certain number and that will kill only if they reach another threshold beyond that. It’s cops attempting to hunt down killers in a society where their very emotions and ability to do their job are their own enemy. (I’d actually watch this one after Law & Order and Southland.)

Law & Order - Law & Order isn’t just important for understanding cops, it’s actually very important to understanding people and why people commit violence.

Southland - I recommend Southland because it’s set in Los Angeles and, much like New York, there are a lot of different racial tensions that the cops need to navigate on multiple levels. It’s very informative for teaching you about how to look at and think about an environment, even one that we don’t initially perceive as hostile.

Trinity - This was a science fiction roleplaying game from White Wolf. The setting itself does a good job of bridging between real world politics, and a near future spacefaring civilization with exposure to alien civilizations.

We don’t usually add supplements for games to the list, but the Trinity Technology Manual is an exception. This goes into a lot more detail on the specific hardware in the setting, and if you’re wanting to think outside the box for dealing with enemies, this might give you some additional ideas. Just, be aware, you’ll need to have read the core book to fully understand a lot of the stuff being thrown around.

Shadowrun - As with Trinity this is another sci-fi roleplaying game. The setup is a little different, instead of traditional sci-fi, this is urban fantasy cyberpunk. You (probably) don’t need to worry about magic in your setting, but even ignoring that, this is still a setting where characters will routinely go toe to toe with things that are larger than themselves and inhumanly resilient. So it might be worth a look.

Deus Ex: Human Revolution - this game is really good for dealing with and getting you to think about the different ways of dealing with transhuman enemies. Also, the tensions brought in by transhumanism itself.

Crysis 2 - Really good if you want to write a character who has been heavily modified, doing the impossible, being put through inhuman amounts of physical abuse, and treated as interchangeable by the people around them.

Alien and Aliens - How to deal with an enemy you cannot face in single combat.

Predator and Predator 2 - Stupid, yes, but relevant. These movies are all about dealing with aliens that are predatory and as intelligent as the humans with goals of their own. Predators have some great limitations and weaknesses, but they’re not human ones and aren’t what we expect.

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Mixed Martial Arts & Crafts
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By: @thekicker feat. @ChrisWeidman
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Full video on our Facebook page
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#Mma #ufc #artsandcrafts #bjj #wrestling #judo #sportkarate #kungfu #capoeira #kravmaga #aikido #jiujitsu #tkd #fight #taekwondo #muaythai #McDojo #McDojoLife

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thepetrichist replied to your post: New fiber-arts tools (distaff and Nort…

FANTASTIC

You will appreciate this: I have to constantly fight my instinctive tendency to carry the distaff like a jō, because it’s the same general length, weight, and circumference. If some of the woodcuts and manuscript marginalia I’ve seen are any indication, they got some use as improvised weapons too. That’s my kind of “weaponized femininity.”

In DA:I, when Dalish insists that she’s not a mage and her two-meter-long stick is “a bow,” I keep thinking, “Well, , so you’re not wrong.”