This ancient fighting style is so secret that its techniques were never written down. They are only passed down from teacher to student. This allows the style to evolve and advance with each passing generation. The resulting style uses knowledge of one's surroundings, clever counter-attacks and knowledge of the human body as effective weapons against one's enemy.
Masters demand utmost devotion and loyalty from their students. The ultimate proof of this is that, in order to actually be taught more than the very basics of the style, its students must sacrifice something precious - their eyesight. The obvious disadvantage this gives to them is compensated through training to not only enhance the student's 5 senses, but also help them awaken their sixth and seventh sense.
Masters of Unseen Light are often mistaken for psychics due to they way they perceive their surroundings.
Said to have been around for about twenty-five hundred years now. It was created by a band of blind Zen monks, who had developed a way of sensing not only the ki of others, but also objects as well. They had also developed their senses to the point in which they could detect things hidden beyond the surface of objects and even things of a mystical nature.
Once upon a time fifteen hundred years ago to be precise the Unseen Light was born and with it, came its darker side, the Shadow’s Eye. Somewhere around 500 AD, a group of Zen monks were making a pilgrimage through China. They encountered a band of marauders and nearly all of the monks were slaughtered, except for eight members, who managed to escape. However, they did not get away totally unscathed. Four of them had been permanently blinded and had to rely on the others for guidance. All of them been seriously wounded and would have perished, had they not stumbled on a place of great good and evil. It was an ancient shrine that was hidden deep within the forests near what is now Beijing.
The world does not always stay the same. It is constantly changing and the Unseen Light trains its students to be able to use their senses to detect those changes. The most basic of which is having them balance on a series of poles of differing lengths while sparing. The pole length and positions are changed every different session.
As we get older we get weaker, both physically and mentally. That is something we cannot avoid. But there is one thing we can do. Something we can improve better at until the day we die. In the wild where survival of the fittest is law herbivores never lay down to rest for just a moment of carelessness can spell death. At midnight they must remain alert for any sights sounds or smells of their predator's movements. Every day requires the utmost attention in order to sense their enemies. By repeatedly escaping from enemy threats their survival has enabled them to refine their 5 senses to the extreme <u>giving birth </u>to a new 6th sense one that can sense the approach of death. A lone elderly zebra was too weak to run any longer. But it was clearly able to tell what was in its surroundings. It lived its days in peace amidst this dangerous savanna for this zebra was able to sense within a 2 kilometer radius the location of all its predators. Humans have this sense as well however through centuries of disuse it has become stagnant only surfacing during times of great stress. The harsh training martial arts put themselves through allows them to reawaken this sense allowing them to see things without relying on their eyes.
Unseen Light warrior train this sense to perfection, using their sixth sense the student read the flow of life energy around them the student is able to not only able to commune with nature and understand their surroundings, but sense the presence and movements of the people and animals around them by sensing the life wave of an opponent, sensing everything from breathing, pulse and rythem of life. In addition by combining their sixth sense with their other heightened senses the student is able to use their ki to broadcast "precognition". Student’s precognition are visions that show the "threat of death" through opponents attacks allowing them to gauge the amount of ki used and determine how it is applied, and once seen they can adjust their position to avoid it. Try as you might if you don’t have the sixth sense you can be one of the best, but you’ll never be number one.
Furthermore the sixth sense can not only detect the ki of others, but it can also detect the ki in one's self. If for some reason that your physical senses should fail, you can still rely on it to 'feel' your own body.
"Everything is in motion"; "everything vibrates"; "nothing is at rest"; everything we see is in a constant state of vibration thus the illusion of solidity. The differences between different manifestations of Matter, Energy, Mind, and even Spirit, result largely from varying rates of Vibration. From THE ALL, which is Pure Spirit, down to the grossest form of Matter, all is in vibration--the higher the vibration, the higher the position in the scale. The vibration of Spirit is at such an infinite rate of intensity and rapidity that it is practically at rest-just as a rapidly moving wheel seems to be motionless. And at the other end of the scale, there are gross forms of matter whose vibrations are so low as to seem at rest. Between these poles, there are millions upon millions of varying degrees of vibration. From corpuscle and electron, atom and molecule, to worlds and universes, everything is in vibratory motion. This is also true on the planes of energy and force (which are but varying degrees of vibration); and also on the mental planes (whose states depend upon vibrations); and even on to the spiritual planes.
The seventh sense is unlike any other sensory ability as it gives you a three-dimensional view of your surroundings. It has a normal range of fifty yards in all directions, and could detect things as small as a beetle. With increased concentration, skilled users could extend that range to one hundred and fifty yards or use it to probe beneath the surface of an object. it allows the warrior to perceive vibrations of any kind. One with this ability can perceive vibrations through the air, water and solid surfaces, as actual vibrations that register throught their ki. User treats their ki as a blanket, and everything that makes creases and bumps in the blanket are figures and objects. The user of this ability can perceive heat, sound, air and even ki vibrations. This allows them to sense the proximity and arrangement of objects about themselves via this ability; user synthesizes a very close analogue of three-dimensional human sight. Thus derive a fairly accurate picture of their surroundings; accurate enough in fact, to provide one the ability to perceive an object and to recognize the location (where), dimension (size and the general shape), and density (how solid something is) of the world around them. Location itself is usually broken down into distance from the observer, direction (left/right, front/back and high/low) and dimension refers to height (tall or short) and breadth (wide or narrow).Vibrations of different kinds have different amplitude, wavelength and frequency.
In all aspects, it truly is a phenomenal skill, but while it can replace sight for everyday life, even to the point of allowing a person to ride a bike through a busy town, it is still a poor substitute for the detail orientated sight human society is based off. It provides a sense of normality, but not a substitute.
Though passive the Unseen Light is a very dangerous and deadly style. Practitioners have to be highly trained in defending themselves and others, while being able to land a critical strike on the opponent.
The fact that the student is blind coupled with their training allows their sensory organs to work far better than the sense organs of normal humans, and thus senses which outdo the capability of normal human perception. These enhanced senses are simply heightened versions of one’s normal senses, and thus they include:
• 1. Touch- Students can feel the most minute indentation on a page, allowing one to read by touch. The rest of their skin is equally sensitive, enabling student by concentration to feel minute temperature and pressure changes in the atmosphere around them. Masters even with their senses of smell and hearing blocked, can feel the presence of a person standing five feet away from them simply by his or her body heat and disturbance of air. A side effect of the students heightened sense of touch is their ability to manipulate their muscles and internal organs. The sense of touch is not just external, but internal too (central nervous system), thereby giving student the ability to have total body control, greatly increasing their strength, reflexes and agility.
• 2. Smell- They can smell with more clarity/range, even to the point of distinguishing subjects by their scents; they can track subjects and distinguish between simultaneously-occurring smells (as well as being able to notice when someone has masked their natural scent); however, they may also be involuntarily sensitive to loud smells, aromatic attacks and nasal-based allergens
• 3. Taste- They can taste hints of things that have been long washed off of surfaces, and tell the ingredients within foods (with the use of taste memory and the distinguishing of similar tastes), or if a substance has been masked; often accompanied by a superhumanly tough tongue, Asepsis and/or Material Intuition; heightened Taste can sometimes work like heightened Smell
• 4. Hearing- Their sense of hearing enables them to detect an acoustic pressure change of one decibel at a pressure level of seven decibels (whereas the lowest threshold for average human hearing is twenty decibels.) This could be used to hear sounds with more clarity and range, and to distinguish subjects’ presence by memory of sounds (even with simultaneously-occurring sounds or fast talking), and to detect lies by listening to and analyzing changes in breath, heartbeat, etc.; may be involuntarily sensitive to loud noises (and/or can of hear on subsonic/supersonic frequencies). Through training students are able to control their hearing acuity, mentally blocking out specific sounds like their own breathing and heartbeat, all ambient sounds to a normal human level of perception, or all sounds but a particular sound they are concentrating upon.
• 5. Spatial Sense- It is a common misconception that balance isn't a sense,This can be used to judge distances accurately, tell if an object can fit into a space, discern the speed, velocity and momentum of objects, sense when/where a subject teleports and sense the shape of things in one's proximity (if unable to see); they are also incapable of suffering from vertigo and/or fear of heights
Unseen Light train’s student in yoga techniques allowing them to control their own bodily functions. By perfectly aligning their ki with their body's natural systems the user can control voluntarily bodily actions like heartbeat, breathing and digestion. One with this ability could use it to feign illness (he can reduce or raise the immune system), resist illness, and the like. This ability can also change the speed of the healing process and control the rate by which the body fights off illness, loses weight or metabolizes food (even the rate at which the lungs convert oxygen to carbon dioxide, and thus the length of time a person can hold his breath).
Boiryōkenon: basic Unseen Light fighting techniques. Bo refers to staff fighting techniques. Ken refers to unarmed fighting techniques. iryō refers to healing techniques. On refers to hidden weaponry. All of which require the controlled usage of a varying amount of Spirit Energy.
The Unseen Light Bojutsu fighting technique is what one might call a 'complete weapon' school in that the correct use of the Bo staff can effectively substitute for other varieties of armament. It is difficult to back a practitioner of Unseen Light into a corner due to the resourcefulness that stems from studying its bojutsu techniques. When close combat fails and the number of enemies grows too great, the staff becomes a shield, or when closed in, a stepping stone, or when hunting, a javelin. Rather than treat the object like a tool designed for a single purpose, the Bo's simple and safe design allows for great versatility, encouraging a versatile body as a result. Those seeking immense power and a means of total destruction would do well to look elsewhere. Unseen Light playfully employs both soft and hard techniques, focusing equally on elements of attack and defense. It calls for creative acrobatics, extreme dexterity, a keen eye for misdirection and the ability to think on one's feet. One will also learn to be intrinsically aware of their weapon's location at all times. The Bo staff ceases to exist as a thing and instead assumes a personality of its own, strengthening the bond between the student and their weapon, and because the style involves a significant degree of separation, there must be a mutual reliance between the two partners to achieve the wielder’s intent and ultimately reunite. More advanced artists will be able to prolong the time apart and chain greater combinations until any technique, whether pre-meditated or improvised, becomes a natural, unspoken agreement.
The danger of Unseen Light’s bojutsu tactic is that by separating oneself from their weapon, even for brief durations, practitioners open themselves up to counterattacks whilst unarmed. The Unseen Light Hakuda (白打, "Hand-to-Hand Combat"; lit. white hits) technique specializes in close-range combat focusing in both offense and defense through deflecting, striking and grappling. Tenets of Unseen Light include practicality, efficiency and economy of movement. The user needs a balanced body in order to stay rooted so that they may deflect opponent’s attacks and launch counter attacks easier.
Strikes are intended to injure or disrupt the target, using the least amount of required force in any fighting situation and taking the straightest possible path to the target (usually a straight line) to break the opponent's structure. Normally, user will look for opponent’s weakness before launching an attack, when they land a successful blow, they will launch a barrage of blows and continue their combo until the opponent is down. The defensive aspect of Unseen Light is based on deflecting opponent’s attack so that they may lose their balance. When this is accomplished, they will dash towards them and start attacking until their opponent falls. The offensive aspect of Unseen Light is based on continuous attacks at extremely high speeds. After each successive strike they hit, they will step closer to the opponent thus maximize the power without the need of big swings or big punches. Unseen Light techniques are uncommitted. This means that if the technique fails to connect, the practitioner's position or balance is less affected. If the attack fails, the practitioner is able to "flow" easily into a follow-up attack. All Unseen Light techniques permit this. Any punches or kicks can be strung together to form a "chain" of attacks. According to Unseen Light theory, these attacks, in contrast to one big attack, break down the opponent gradually causing internal damage. Chained vertical punches are a common Unseen Light identifier.
Iryōjutsu( Medical technique),Unseen Light has great potential within as a healing art as well as a fighting art. Students are trained to use their ki in the process of healing. Their enhanced senses make it easy for them to distinguish different herbs and extracts. Their ability to sense ki allows them to locate pressure points with no difficulty and their training allows them to develop a measure of patience which serves them well as a healer and fighter.
The styles knowledge of pressure points and rare herbs make it quite lethal. Student’s are able to disable or shift the opponent at the user’s whim, like a guide of wind, and also to avoid impact with a heavy possibility to counter, like an intangible force. There are styles that rely on brute force, some defense, and others on speed and agility. The Unseen Light healing techniques, however, studies all of them, but in its own little way. When it comes to speed, they improve both their defenses and offenses, reading the opponent(s) quite accurately. Seeking the pressure points that are currently open, or soon to be. When it comes to stamina, they have plenty to host, enough to carry on with this fighting style for long terms. Strength, in a way is helpful, but not so much of it is found here. Instead of “mere” strength, they rely on a certain structure of power as the “inner” strength that instead comes to light, solely running through the fingers, [if agile enough] the feet, and [if beyond amazing] the knee. Student’s are very capable of killing excellent fighters. However, it is hoped by their masters that their training as a healer shapes their personality and preventing them from ending a life.
Onken (Hidden Fist) is a fighting technique used by those who carry concealed weapons about their bodies, (e.g. Wrist Blades, Foot Spikes, Elbow Blades, etc.) The most basic users of this style use merely the foot spikes and wrist blades, however it is not merely limited to those, they are just the required minimum. More advanced users choose to use the whole array of hidden weapons. The premise behind this style is that the user will look like any other unarmed fighter, yet as he fights, he employs various methods of slipping out his concealed weapons and striking deadly blows on his unsuspecting opponents. Most victims never even see the blade coming before it is too late, as they are merely expecting perhaps a mere punch. Masters of this technique are able to conceal their weapons even as they fight, so that it looks as though they are cutting with the air pressure from their fists, causing severe confusion and panic in their opponents. The name Onken is also misleading, and has two meanings. 'On', of course, means 'hidden', while 'ken' has a double meaning. It can either mean 'fist' or 'sword', and both make sense in this respect. However, looking at an Unseen Light user leads most to imply that the said 'ken' means fist, as they normally carry no other weapons than their concealed ones.
This stage in training is all about preparation, and learning and understanding the basics. Development of the sixth and seventh senses has great importance at this stage, as do speed and stamina control exercises.
Senses: While none of the user’s senses are noticeably beyond the human norm, the information received are interpreted at a higher degree than normally.
Directed Strikes: "Striking your opponent's vulnerable points" is little more than a sentence to users at this stage. While they might be able to conceive of kicking their opponent in the shin, they are not likely to do much more than that.
Introduction to the Bo Staff: Arming the Brave
In the beginning, every student of Unseen Light is treated as an equal, regardless of prior training. Even if one does not plan to develop their skills to the level of mastery, the road to better understanding must begin with an unfettered state of mind with which to perceive safe footing on the path ahead. Each hopeful receives the same simple staff (5' in length rather than the conventional 6') and a fixed syllabus of exercises. However, disciples are advised not to engage an opponent with their training Bo until they have reached the Second Stage. If the new student cannot yet achieve control over even the most fundamental movements then they are no more than a child swinging a stick. The teachings of the First Stage seek to reinforce existing acrobatic tendencies and introduce the core skills necessary for any Bo staff user. They also provide enlightenment into the school's historical and theoretical aspects. This is the only 'general stage' but in some ways also the most important. Some of the preparatory exercises are listed below:
Ebb and Flow Familiarisation: In order to one day gauge how any staff will move in their hands before they wield it, the student must first grow accustomed to the weight of their own weapon. This can be done by shifting the bo into various grips without breaking contact, rolling it up and down their palms and along their arms, and tossing and catching it with or without looking.
Pick-up Stick: Connection is the key to separation; to correctly handle a Bo staff under the umbrella of Unseen Light one must be able to retrieve their weapon quickly and efficiently. At this stage, the simplest and most commonly used method is for the student to flick the near end of the training staff into the air from the ground using only their fingers and catching the length of wood as close to the bottom as possible. This exercise can also be accomplished using one's feet, in which case the student approaches the Bo at a point along its length and rolls the pole onto the tops of the toes with the bottom of the foot.
Novice Spins: Here, the fledgling staff juggler learns how to correctly spin their Bo using one or both hands. Although initial efforts may be clumsy, twirling the weapon above the head, out in front and on either side of the body will begin to build up hand-eye co-ordination, muscle memory, spatial awareness and confidence.
Superior tumbling is one of the most important features of Unseen Light Bojutsu, especially given its application to unarmed scenarios (in the contexts of evasion and later attack chains), and so the First Stage syllabus covers acrobatics and staff-handling separately. Training in acrobatic staff-handling is only given from the Second Stage onwards upon the consolidation of the following techniques:
Travelling Rolls: From a crouch or an upright position, the student can roll forward, backward and to either side over a surface with good form, balance and speed. Handstands: The student can perform a stable handstand with one hand or both from either a stationary position or during movement.
Cartwheels: With the optional addition of a round-off, the student will be able to execute successive cartwheels on both their good and bad sides.
Elevated Jumps: The student will understand the proper technique and training required to arrive at those once hard-to-reach locations in fewer bounds and to descend from high places with greater precision. Controlled Landings: When travelling at speed and landing against a surface, the student will be able to absorb the impact and preserve some of their momentum.
Although it is recommended that beginners refrain from applying their staff exercises to actual conflict at this point, the school's original masters realised that self defense would become an issue for those relying on Bojutsu as their sole outlet for combat. The techniques they created allow the student to defend themselves without resorting to attacks that actively utilise the staff, which include:
Free Form Fighting: Basic punches, kicks and blocks found in the majority of other styles (unarmed).
Fixed-hand Kicking: With the staff in a two-handed, knuckles-up grip, the student raises their weapon from its neutral guard in front of their chest, allowing them to execute a single inside kick, outside kick, straight kick, hook kick or roundhouse kick with either leg before lowering the staff again.
Kick Flick: The first technique to hint at the act of misdirection which becomes prominent in later stages, the student stands side-on to their target and holds the Bo in a two-handed grip with one end pointing out in front of them and weight resting on their rear foot. With the tip of the staff dipped slightly, they test the distance to reach their foe then flick up the end as if to strike but instead hop forward to deliver a straight kick with the leading leg.
At this stage, the user begins the real training. They are taught how to accurately counter-attack an incoming enemy, and how to deal with the blow should they fail. Because the senses are still developing, bojutsu takes precedence here as the preferred form of combat. This keeps the enemy away and allows the user to know his location at all times. A small number of grasping techniques or simple trips are taught as well.
Senses: While the user has gotten over the basic stage of adjustment, their senses still are not much sharper than those of a normal person. However, the user becomes proficient in sixth and seventh sense as a way of getting by in everyday life without their vision.
Directed Strikes: While still very basic, the directed strikes are improving. In combat, the user will go for kidneys, throats, stomachs and other areas where being struck is painful.
Introduction to Fan Style
The Fan Style is the most artistic of UL bojutsu's strategies, employing rapid twirling of the Bo staff across various parts of the body. This is a dramatic step up from the Novice Spin of the First Stage, with the velocity of revolutions and creativity in their application emphasised. It also provides disciples with a clear comparison to Shuiro and Ago's original practice. The student will not only be able to spin the pole with one or both hands but across their shoulders and neck, around their wrists and even around their ankles. The circular motions which apply rotating pressure to maintain contact between staff and limb become a real test of strength and endurance, which helps to develop a leaner physique. This is also the first Stage in which the students may enjoy the fruits of their labor and combine staff-handling with every acrobatic skill learnt so far. The improved awareness and control of their weapon means that the user can afford to divert their attention elsewhere, namely into mediating the balance between body and Bo. For instance, one might roll to the side over their shoulders in order to evade an attack but keep their twirling 'fan' angled upwards to provide a measure of protection. Provided that the Unseen Light beginner understands the theoretical and historical elements of the school and has earned the approval of their master through a demonstration of skill, they are now allowed to engage opponents directly with the Bo but are still advised to employ a balance of hand-to-hand and weapon techniques. Two-handed strikes alone or on the tail end of staff twirls are common fare for the Stage Two practitioner, while kicks have grown less abrupt and are more frequent.
Diving Rolls: The student can cover greater distances and avoid small obstructions with this variation on the typical roll.
Flip Ups: Traditionally performed from one's back or shoulders, the student throws their legs in an arc underneath them and uses the compression and extension in their spine to land on their feet.
Headstands: Using the crown of their head and their hands as a tripod of support, the student can enter, hold and roll out of a headstand in a smooth and balanced manner.
Forward Head Flips: Combining the principles of a flip up and a headstand, this move can be initiated from the feet or from the head. From standing, the student inverts themselves to perform a headstand then throws their legs underneath them to spring back to their feet.
Butterfly Kicks: This aerial move is the first to imitate the twirling Bo's visual impact with the body and is a favorite among students of the Second Stage. It is customary to first employ a brief run-up comprised of a half turn on the inside/leading leg, another on the secondary leg to continue the rotation and a third in which the upper body is dipped very low and the leading leg only placed on the ground to push at the last possible moment. The kick itself combines this built-up momentum with sudden upward propulsion, an additional circular swing from the other leg and a graceful form which will continue to turn the student's body as it enters the air and returns to land on the secondary foot. Arching their back and extending legs and arms like the wings of a butterfly, this is a very useful technique for evasion and even dynamic entries.
Juggler's Trip: With their Bo revolving around an ankle, the student lowers the foot to trip nearby foes, hopping over the pole with their free, supporting leg - more useful as a transitory move than an extended assault.
Maiden's Shield: The template for the Maiden's Shield is actually identical to the popular Bo technique of spinning the very quickly to create a protective shield which can block weaker physical strikes and deflect a number of slower-moving projectiles. The key difference in Unseen Light is that the shield may be erected on any axis, the most practical being a raised leg twirl which then frees up the hands.
Rolling Neck Whip: To ensure that the opponent is given less time and space to strike, this technique uses the majority of the Bo's length and can be applied as a rolling combination from side to side. With an opponent to one's left, the practitioner would hold the near end of the staff in their right hand and extend their arm to sweep across their body with their head tilted to the right. The aim is actually to fall short of the intended target and spin the staff a half revolution around the back of the neck which then tilts the head to the left and clears a path for the Bo. Switching hands and grabbing the staff with their left, the user can now throw this arm much further and surprise the opponent.
The differences between this and previous stage are minor. The user is taking the basics he learned and has begun applying them into a refined fighting style. Hand to hand maneuvers are more efficient and the user is slowly learning effective ways to keep his opponent pinned or at the very least unable to move for a vital spot. Dodging is becoming more intuitive, thanks in part to the quickly improving Sixth and Seventh sense and the sharpening of other senses.
Senses: Thanks to training, the user's senses are becoming more refined. Simultaneously, their reaction speed to attacks that they can hear or feel has improved. Taste also gets a slight boost, and it is not uncommon for Unseen Light students to become notoriously picky eaters.
Directed Strikes: The idea is still the same; go for obvious weak points. The technique is more refined, however, and the student learns exactly where to strike in order to cause more pain. Many users favor striking the throat or solar plexus, as this will often stun the opponent long enough to land another strike.
Introduction to Pillar Style
The introduction of Pillar Style is the first point at which the student will come to truly understand that there is madness to the method and that, unlike traditional staff styles, at the heart of Unseen Light lies a game. Stepping away from the fundamental principles of staff handling, the progression of the art from Fan to Pillar style becomes entirely unorthodox and therefore quite challenging in its break from expectations. Yet in the minds of its playful progenitors (and those who are ready to advance) the logic remains sound. Reliance between student and staff becomes a key tenet as their roles are reversed. At first, the Bo served as a living extension of the student’s core. Now it has become the disciple's turn to dance around their partner and rely on the other's strength, flexibility and durability. More tool than weapon, adepts of this Stage will begin to platform and actually use the Bo with its natural affordances of weight-bearing and obstruction in mind. For instance, by stabbing the tip of their Bo into a relatively soft surface like the ground in front of them or the bark of a nearby tree, the practitioner can effectively create a simple barricade and distance themselves from their opponent. Weaving in and out of the new space with the trustworthy pillar in place, the student may proceed to confuse their foe with ever-changing evasive patterns. Yet awareness of the immediate environment and their static partner's limitations is essential in judging how deep they must drive their weapon and how much weight they can then afford to place upon the staff. However, evasion means little if one cannot return to the fray with a new trick up their sleeve. The wielder will find that their Bo cannot remain stationary for too long lest their foe attack it directly and so it remains ever on the move, as must its guardian. This kind of combat forces the student to work on their own flexibility and agility in order to successfully orbit the axis of their weapon wherever it may be placed. Equally, the act of stabbing a 5' length of wood into a firm surface is by no means an easy task, especially when only one hand might be available to apply the driving force. Luckily, training poles can be easily replaced while learning how to control pressure and precision. Strength and muscle toning take a significant leap over the course of the Stage and this in turn affects the pillar combinations available to the practitioner.
The acrobatic feats introduced at this stage also take something of a leap in that they push the student's broad skills along a path tailored more towards the Unseen Light mentality. With personal creativity and versatility under any situation an ongoing pursuit, the immediate constrictions of this redirection will ultimately open the student's mind to an entirely new perception of acrobatic invention. With the staff in hand, one's movements begin to reflect the symbiosis:
Hand/Elbow Stand: Depending on the stance of the practitioner, they will be able to perform a sustained handstand or elbow stand with one arm whilst utilising their Bo with the other.
Wheel Vault: A single-handed cartwheel initiated by a forceful dive to one side.
Drunken Crab: The Unseen Light adept makes good use of their agility and gift for misdirection by evading attacks with a sudden drop to the ground, arching back into a crab position. However, instead of supporting themselves with both hands, they can employ the Bo like a pincer to be thrust into the ground behind their head and act as an anchor.
Slingshot: Following on from the principle of using the grounded staff as a tether, the wielder relies on its flexible nature as they hold onto the weapon at any point along its length and swing around its axis, feet first.
Basic - Fool's Flick: Upon luring an opponent closer to the vertically placed Bo, its wielder will pull on the staff to make it snap back for that satisfying, albeit juvenile, THWACK!
Advanced - Axeman's Bane: Upon luring an opponent closer to the vertically placed Bo, the adept drives the outer blade of their leading foot into the ground at its base in order to dislodge their staff and immediately grabs the free-falling upper end. With the Bo's reach now extended and weight fully on the forward foot, the adept can easily hop forward on the tail end of the technique to deliver a fierce stab at the opponent's shins followed by a two-handed skyward flick. Basic - Pole Vault: Stabbing one end of the Bo into the ground, its wielder uses the supple bend of the wood to carry their weight over an obstruction or even up to reach greater heights (note: retrieving their partner from the ground mid-vault will naturally diminish momentum)
Advanced - Monkey's Tower: Not so much a stab as a mere placement, the adept has grown accustomed to balancing on the Bo itself and is able to perch easily at any point along its length, either at rest or while in motion. This technique is frequently used to maintain elevation in one's evasive efforts and resembles the deft movements of a monkey on the branch of a tree. Basic - Horse Tail Whip: With the Bo at rest behind one's head and laid equally on the shoulders, hands at either end, the illusion of an opening is complete. Should the opponent advance too quickly, the staff wielder may choose to engage them with a leaping outside kick (i.e. right foot travelling from left to right across the body) followed closely by the trailing foot, combined with a horizontal Bo swipe under the raised legs moving in the opposite direction. Landing side-on to their foe with the length of their staff held behind them, the disciple's deceptive tricks may continue from there.
Advanced - Reverse Hornet Sting: With the Bo fixed securely to a vertical surface and extending at a perpendicular angle so as to fend off encroaching foes, the adept draws the opponent in to make the first strike but jukes away underneath the free end of the pole and emerges on the other side to leap over it feet first in a flying kick. Holding onto the Bo, one can rely on its strength and durability to enable the seamless change in direction and additional propulsion necessary to complete the technique smoothly.
Name: Broken Hope
Description: The practitioner strikes either of the pressure points on the neck (the nape or throat). What happens is the gradual losing ability to breathe, but only for a short amount of time. This doesn’t take up any lethal effects, but can leave a wide range of open space and time for the practitioner to follow along. In due time, this technique can become vicious down the road, when the user's pressuring hits are as sharp as blades.
Name: Hidden Tiger
Description: The user has to find the point that have the natural possibilities to bend; like the back of the knees or the several sections on the arm. With this ability to strike a pressure point (nerve points are just the same, but just a little bit less sensitive), the user allows himself to thrust his sharpening strength into one spot, wounding it, but also utilizing it. The utilization effect isn’t something one can manipulate for long terms. Just that moment, that second passing as they punch you and you avoid the hit with your very own hit, or that moment of having the ability to reach their weak spot, you go for it with a strike, always deceptively and nimble. Points that work wonders: in the Calf (for the leg to bend), Median Nerve (for the arm to bend), Kidney (for a sideways bend), and lastly in the Diaphragm and the lower abdominal area (for the stomach to bend). This, of course, is good lead for another attack if done correctly.
N ame: Devil’s Sweep
Description: By hitting the Instep, Ankle, or the Achilles Tendon, you earn the ability to sweep even the most bold opponents, as you hit a vital point. The sting isn’t lethal, even for a master, but the pain is something that could become unbearable should you progress. The results to this strike are like that of a sweep, which brings the opponent out of balance and ultimately fall [depending on which side you hit].
Description: The user simply takes hold of the wrist/hand, directly inflicting onto the pressure point. The pain comes from the entire arm as it twists out of its usual formation, activating all the other points without touching them. The user isn’t capable of breaking it, only constrict and holding them down almost with perfect accuracy. The common way to doing this is leaving the opponent having an arm up in the air as they cringe forwardly in pain towards the ground. IF the user is skilled enough, he can hold either both the arms or both legs, making it much harder for them to move.
Counter-attacking is becoming much more instinctive now, and while the seventh sense can compensate for sight, the user still prefers to “feel” where his enemy is in a good old fashioned wrestle to the death. However, finally the user feels comfortable fighting without their staff and thus has a much easier time of engaging multiple opponents.
Senses: The user's senses are notably better than his vision-sporting peers. He has gotten used to his lack of sight and his other senses are really starting to compensate for it. Because of the need to concentrate in order to even move around, he is usually more perceptive to traps and obstacles than other people.
Directed Strikes: A basic knowledge of pressure points is gained at this stage. If he is lucky, the user can strike points in the neck and chest to get much the same effect as a regular strike with minimal use of force. This is mostly effective when fighting opponents who take little damage from regular blows.
Introduction to Boomerang Style
This is the third and final aspect of Unseen Light Bojutsu, the second stage of separation from one's staff and the commencement of the student's journey towards perfecting a total weapon style. Boomerang Style introduces the concept of staff juggling and involves an extreme sense of timing and foresight in order to craft an unpredictable offense of angles and rebounds. One must learn to volley their staff as if it were a boomerang. Simply put, once the launched Bo strikes the enemy, the initial force applied will send it on a rebound back into its partner's hands or, more commonly, the crook of their foot. As with the Pick-up Stick method, should the Bo fall to the ground for whatever reason, the adept will have discovered by this point that bending down is the least practical means of retrieving the weapon and that it is far more effective to use one's feet. It is even more effective if said retreival becomes an unexpected counterattack by rolling the Bo onto the toes and kicking it into the opponent. Before one can even hope to progress to the Fifth Stage, the completion of two successful volleys in a live sparring situation must be achieved. Students of this stage have now begun to read their opponents' bodies for hints of potential weaknesses. Vulnerable soft spots become unguarded in the face of one who attacks from numerous angles through multiple means of combat. The bodies of Unseen Light practitioners have grown into considerable fighting specimens, lithe and firm with a springy strength akin to that of their Bo. They too are now a weapon and no longer need to rely solely on the staff in hand to successfully land a hit. As confidence in one's movements and ability to control those of their partner-in-crime improves, students will naturally seek to push their acrobatic tendencies further and experiment with more risky and rewarding maneuvers. All previous Fan techniques have become instinctive for most of these situations while Pillar transitions have grown less abrupt. The student has developed a natural understanding of which surfaces yield the best results and how to optimally disperse weight across the staff while retaining good mobility.
Attack and defense, body and Bo, stationary and dynamic; there is now a balance to Unseen Light. Emphasis no longer lies in dancing around the opponent but in moving with the ebb and flow of the game, advancing as well as retreating and maintaining a penchant for the unexpected. The student will begin to search for their own unique flair within the style and the master will allow their pupil a degree of freedom from the regimented teachings in order to achieve this goal. No-handed cartwheels, backflips and somersaults become common fare and near-instant recoveries from the ground help facilitate the ideal of a body in perpetual motion.
The Forgetful Beggar: Either by dropping the staff or performing a pick-up, the student traps their Bo in the space between the two opposing pressures of one foot's crook and the other's heel. Flicking their feet in opposite directions and tucking in their legs will result in a horizontal rotation to trip the opponent or catch them with a feint and reverse the Bo's direction mid-spin. This is an excellent move for dispatching a mob of adversaries or simply hammering a single foe with a continuous juggle.
Beggar's Lucky Coin: If thrown to ground but still within a leg's reach of the staff, the adept performs a pick-up from lying down and transitions directly into a recovery. This particular recovery follows the staple movements of a reverse coin drop, swinging one straight leg diagonally across their body and over their shoulders, following through with the second leg and pushing with the hands to find their feet (or delaying the moment of recovery with an added handstand twist for style). However, with the Bo balancing on the leading foot, the 'Beggar' can protect himself and so once his weight has shifted to the shoulders and hands, the secondary leg can snap round to spin the staff as in the previous technique until he lands firmly on both feet.
Heavenly Climb: The achievement of this technique represents a critical step in the progression of the Unseen Light disciple, combining heightened spatial awareness with precise acrobatic pacing and the control required to perform a double volley with the feet even when the Bo is out of sight. Flicking the staff into the opponent's midsection, the adept leaps into the air with the other leg which then swings forward to make the rebound volley with an even greater force so that they might flip backwards and catch the staff with both hands on its return trip. Armed with the knowledge of the incredible possibilities which have begun to dance at their fingertips, the student of Unseen Light will take this time between stages to master each of the lessons provided by their sensei thus far. Above all else, it is essential that the movements become not only second but first nature to them, intrinsically linked to their body's internal rhythm. Many have reached this point but been unable to take the art form further due to a mental block. It is one thing to know what it is they must be able to do and remember the motions, but another entirely to realise that they have already internalized the teachings and that the Arsenal has ceased to exist as a style, instead becoming a way of life. From this platform they can begin anew, discarding their training staff and receiving permission to bear a full 6' Bo. Most will choose to craft their own weapon due to the personal connection the two beings will come to share, and time is taken to familiarize oneself with their partner's new capabilities. It is not uncommon to see the introduction of metal poles for the improved durability they afford; the wielder will know what works best with their individual style.
Name: Glide on the Rise
Description: With techniques like this, either waiting to be attack or attacking on cue is the key. To start this off, the user strikes with his foot first with a stomp [if in front] or hits the Achilles Heel [in the behind]. This will provide an opening. Following this conclusive strike either towards the two abdominal pressure points, or (from the back) the back the Kidney, the Sciatic Nerve, or either of the two points located in the Spine. This strike affects both legs and hips. If the user wishes to affect one leg only, he or she can strike either one of the pressure points two times, followed by a final strike towards the one located in the abdominal area, or if choosing from the back, the Kidney (if they want the left, they'll choose the left Kidney). Because of their speed, it is easy to target these many without faltering or wasting any time, not one millisecond.
Name: Kindling Rush
Description: Simply strike the opponent’s pressure point, and watch them direct themselves onto another way (if the user wishes to, he can choose them to not feel any pain). As if you are the positive, they are the negative, you swipe out of their range, as you use their force in a perfect flow, ushering them the other direction. Usually, this works against opponents who wish to strike the user or opponents standing still. Therefore, pressing against the central areas, like the stomach or head and all that is not something that is wise to do if you wish for them to move towards a certain direction. Therefore, hitting some point on the arm that is large or corners of the torso work wonders. Hitting an opponent not attacking or is deliberated is almost the same. Those that do not move, the practitioner will have the ability to turn them around at a maximum of 360 degrees.
Name: Crouching Dragon
Description: This technique can go two ways; striking from the back, first hitting one of the Spine's points, or striking from the front, first hitting a point in the abdominal area. Hitting the abdominal area sends the opponent forwards. Hitting the Spine sends the opponent backwards. What is great about this is that the opponent is wide open for any neck-related or head-related strikes as they bend from either way.
Name: Kaijo I: Kanashibari
Description: The user directs force onto an opponent. Depending on where he hits using the diagram above, that part of the body will begin to lag. Points directed will make only slur and jittery movements, unable to match the skills they had when they began battling. (I.E.: The punch becomes a wobbly swing and their running becomes a non-responsive haul. Their speeds are only slightly altered however, as their accuracy is the thing that is what's literally being affected). The pain is optional, but if inflicted, it sends the pain akin to being struck with a kunai. Using the technique by itself is possible, but for to make good results it needs to be sent through by a Normal Technique. Name: Lend a Foot Description: With this to add on, the practitioner will now be allowed to use his or her kicks in battles, able to strike their target's pressure points as good as their hands.
At this level, the counter-attacks delivered are quick and fairly dangerous, as the user learns where to strike in order to bring his opponent down. Bojutsu techniques are used less, though the user recognizes the superiority of such a tactic if the enemy is alone or slightly faster than the user.
Senses: At this stage the Unseen Light disciples have faster reactions and greatly better hearing than any of their sighted equals. When it comes to noticing sounds, textures, tastes and smells, Unseen Light students are unmatched. Some are even able to properly execute ranged attacks based solely on listening to an opponent thanks to a much refined Sixth and Seventh sense.
Directed Strikes: A more advanced knowledge of pressure points is gained. The user is able to strike an opponent in the chest or neck to trouble their breathing, or strike a limb to make it go numb.
Name: Sense Manipulation
Description: There are times in which having sharp hearing and a sense of smell would be a hindrance. This technique enables user to alter their ability to interpret the world, by changing the way they smell, taste, hear, or feel the world. In a sense turning those senses off so that they can’t be used against them forcing them to rely solely on their sixth and seventh sense to guide them.
Name: Soar into the Deep
Description: This technique requires its practitioner to press onto any point on the neck or even the Suprascapular Nerves, then both corners of the chests (From the front: Either one on the deltoid and one in front of both shoulder muscles. From the back: Just either point of the shoulders or the upper point on the Spine). This extremely speedy sensation of the user’s “Kaijo” will then flow through the arms and chest. The result is that it affects both the arms. Wishing only to affect one arm, the user must hit the one of the chosen pressure points twice more (and to be on the side they have in choice). This will then flow to the chosen side's shoulder, down to the biceps, then to the flexor carpi radials, and finally to the fingertips. Because of of how the practicioner has become a speed demon of sorts, it is easy to target these many without faultering or wasting even a milisecond.
Description: The user directs a chopping assail with their hand over a pressure point on opponent’s neck (including the Carotid Artery and the Suprascapular Nerves). From that single chop, the user releases enough thrusting energy to wipe out his opponent down towards the ground.
At this level, the user poses a considerable danger. Counter-attacks are carried out with frightening precision and speed – many times leading to death for an unwary opponent. In many ways, this skill becomes demoralizing to the enemy as the “blind man” counters their every move.
Senses: This level of sensing is indeed quite extraordinary. Users ability to sense ki energies have become so great that if you were to demonstrate a ki technique to them, they would be able to learn it by measuring the amount of ki used and determine how it is focused. Because of their abilities, users at this stage are often used as spies, since their operative range in the field of listening is far greater than that of most other fighters, and at this stage even smell has taken on a role of its own; some users gaining the ability to track individuals by scent. The user does not need to actively concentrate to move around unless the area is difficult to move around in (thick jungle, land filled with jagged rocks and so on).
Directed Strikes: The user is perfecting their knowledge of pressure points. They can strike an opponent's chest or throat to trouble their breathing, strike one of their limbs to paralyze it, then have it go numb, or strike the back of their neck to cause their opponent movement problems.
Description: The user uses their senses to find the stress points of any inanimate object. Then by letting their ki flow into the object they cause a uniform disintegration of its structure.
Name: Kaijo II: Chuufuu
Description: The user finally has the chance to improve the pressure in each strike. The user can send a burst of his energy into the opponent, and allow it to explode. The explosion is nothing lethal, and doesn’t break anything. It just explodes with an amount of pain as equal to a short blade.
Name: Need a Lift?
Description: With this to add on, the practitioner will now be allowed to use his or her knees in battles, able to strike their target's pressure points as good as their hands (but will still need to be close enough to do so).
At this point, the student has achieved complete mastery of the style. His speed alone is dangerous, but his counter-attacks are downright deadly and more than capable of stringing less opponents around with one hand by using carefully constructed grapples that target the pressure points of the enemy.
Senses: The user's senses are so refined they are often mistaken as a form of precog coupled with mind reading. The user is able to use his senses to know the enemy, how he thinks and how he moves. He has easier time recognising a lie according to the pitch of the speaker's voice. He will notice and identify smells that he knows from distances of five to several hundred meters away, depending on the strength of the smell (subtle perfume or smoke from a fire.) If the user knows a small or medium sized area well (such as his own room), he will notice if someone enters it, even without sound. He reacts to poison in his food seemingly before he puts it in his mouth. Their sensing abilities are so impressive that they are able to locate an opponent by their heartbeat alone.
Directed Strikes: The user is highly skilled in using pressure points to their advantage. They can strike an opponent's chest or throat to give them trouble breathing, strike one of their limbs to paralyze it, then have it go numb, or strike their neck to cause them trouble moving.
Description: Unseen Light Stresses that it is just as important to heal oneself as it is to heal others. By striking specific pressure points on the arms and chest, users ki energy will be stimulated enough to stop the spread of poison and begin the healing process that much sooner. But you must take care. Missing these spots by even the slightest fraction would cause great and permanent harm to your body.
Name: Spirit Beam
Description: The final technique of the Unseen Light. Those who practice the Unseen Light Martial Arts are able to draw power from the mystical realms as well as the physical realms. Their senses are so sharp that they can locate any power source and utilize it. User reaches out with their senses and feelings, letting their ki flow out and touch their surroundings. Slowly focusing on the trees, the ground and the air around them. They don't force their ki into nature they cooperate with it. Become one with it. User’s senses take in each detail of their environment. Every odor is smelled. Every air current is felt. Every sound is heard. Then, user’s senses extend themselves beyond the physical realm. Mystic forces that are the basis of all magic are detected. User then absorbs what they sense. Gathering the energy within them. Focusing it and making it a part of them. At this point tiny pinpricks of energy will begin to appear around user. These dots of energy float beside them like fireflies and then are absorbed into them, causing their aura to become the purest white. User points their staff at their target. The pole glows white just users aura transfers all the accumulated energy into it. A small ball of energy appears at the end of the staff and then a thin beam of energy shoots outward. The Spirit Beam takes a long time to initiate and is so draining that it can't be summoned too often.
Description: This technique is used to counter ki-energized weapons. User gauges the ki energies in the weapon then uses their ki in their weapon to counter it. Once the opponents weapon makes contact with users own ki-energized weapon, it becomes an ordinary weapon again as the two ki energies canceled each other out.
Name: Ki Cutter
Description: This is a technique that uses a small amount of ki to effectively counter a large amount of opposing ki. Unfortunately this technique only works against techniques that use emotions to project ki. User focuses a small, but concentrated amount of ki into his staff. Unlike a normal martial artist, who would use an equal amount of ki to counter a technique this technique specifically slices the attack by canceling out a small line in it. The remaining energies are rendered useless as user cuts a path through them. Opponent thus wastes large amounts of his own ki as user is conserving his.
Name: SPIRIT SPIN
Description: This is a technique used to counter stronger techniques. Reaching out with their sense user gauges the strength of opponents attack then they enter a stance with their staff in front of them held parallel to the attack and focus their innermost energies. Users senses reach out for all the available spiritual energies that are available in the time it takes for the attack to reach them. Tiny pinpricks of white light suddenly appear and are absorbed into users’ body. Their form glow with a white aura. Just as attack is about to impact. User thrusts their staff forward and spin it creating a rotating shield of ki. In addition to blocking the attack the spinning of the staff allows user to disrupt it causing it to explode into smaller fragments as the staff chops it to pieces. However this technique has to be performed perfectly to work and user still needs the strength to stand up against the attack.
Name: SPIRIT SEEKER
Description: User focuses ki into their hands forming a small blue orb. When they focus enough of their ki, they reach out with their senses and located opponent's spiritual signature with their sixth and seventh senses since no two people were alike. User then simply impresses that information into their attack and lets it go off on its own. When launched the blue ball of ki shoots out and elongates until one end tapers off into a tail. The ki attack resembles a miniature comet, making a high-pitched whine as it speeds toward users’ foe. The Sprit Seeker was like a smart missile and will not stop until it hit its target or is destroyed. A couple of other assets to this technique are that user still can control it while it is in flight and that it will only attack the person it is locked onto. User doesn’t have to worry about innocent bystanders getting hurt.
Name: SPIRIT THRUST
Description: User focuses his ki into their staff and launches his attack straight down its length the staff providing a direct conduit to its target. Agony soon floods opponents body as users’ energy floods their own ki pathways.
This level of unseen light is thought to me nothing more then a legend.
Senses: The hermetic principle of vibration states that everything is in motion; everything vibrates; nothing is at rest giving the appearance of solidarity. In addition to their augmented senses users seventh sense has reached the point where they perceive the world including people, as vibrations. The user can now sense their environment (the presence, position and motion of others, etc.), and can tell when the slightest changes occur (a footstep, an increase in heartbeat, atmospheric changes, temperature changes, etc). in addition the ki they use to 'feel' their way around now has the capability to become more solid! In other words, user can now use their seventh sense as a weapon
Directed Strikes: Directed strikes have become obsolete as the user gains the ability to freely manipulate vibrations
Name: Mind Wave
Description: User’s aura flares as the so-called Unseen Light becomes visible and lashes out, much like a Tsunami.
Name: Seeker Storm
Description: The sphere then explodes into a dozen smaller comets that buzzes around the opponent, keeping them occupied as the blind fighter uses their senses to locate the opponent’s weak point. The Unseen Light fighter then bombards that point.