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It’s become increasingly difficult to legally arm yourself for the purpose of self-defense. Laws vary greatly from state to state, and the last thing you need is to find yourself jammed up because, although you legally defended yourself, you did it using an illegal weapon. The same can be said for using an inappropriate yet legally carried weapon. For example, a folding knife may be legal, but it might not be appropriate for the circumstances — yet it’s the only thing the intended victim has with them, so it gets used. Introducing any weapon into a violent situation can be problematic. Courts generally take a dim view of hurting someone with a weapon unless the situation clearly supports its lawful use in self-defense. The distinction between a purpose-built weapon and a weapon of opportunity is basically this: A purpose-built weapon is "an instrument of combat by design," whereas a weapon of opportunity is an everyday implement that’s at hand and pressed into service as a weapon because of urgency or necessity. Enter the Flashlight Which brings us to the point of this column: the flashlight. Notice I didn’t say “tactical flashlight” or “CQB flashlight.” The reason for the differentiation can be found in the preceding paragraph. In my opinion, if a structurally sound flashlight is designed with a sharp, crenulated bezel that’s specifically for striking, it is, in fact, a weapon. And to be honest, it’s a maiming weapon. I’m not mincing words, and I’m well aware of the plethora of such flashlights in the marketplace. What I’m suggesting is that you don’t purchase a light with sharpened edges or teeth designed to cut into an attacker. What to Look for in a Flashlight I always advise people to choose a flashlight based on a few important design features. First is diameter and length. I recommend a light that’s approximately 8 to 8½ inches long for a couple of reasons. It will carry well in a rear pocket, the average depth of which (in jeans) is 5 to 6 inches. A light that’s 8 to 8½ inches long means the head is positioned above the pocket rim and is instantly available, provided you have the right grip, to use as a bludgeon or dan bong  (Korean for “short stick”). The diameter should be ¾ to 1 inch so it’s easy to manipulate and can be used as a kubotan or koppo. If the diameter is right, the light will fit between your hand and wrist in the natural saddle that occurs near the styloid process on the ulna or radius side. If it’s too thick, it won’t be effective as a kubotan and can’t be held between the thumb and little finger as a koppo. The second feature is brightness,  usually measured in lumens. The light should be bright enough to legitimately “night-blind” a would-be attacker and preferably bright enough to diminish his vision in daylight hours as well. How bright is bright enough? If you have a light that produces more than 100 lumens, you’ll effectively diminish anyone’s vision at night. Brighter is better, of course, but that entails increased power requirements and better bulbs, which can adversely affect size. The third important design feature is construction. Most good lights today are made of “aircraft aluminum” and have decent shock-absorption qualities with respect to protecting the electronics and the LED bulb against damage from impacts. You’ll want to ensure that your light will continue to function as designed if you start hitting things with it or drop it in a struggle. The last pertinent feature is the switch —  in particular, the ease of use and resistance to unintended activation. This is mostly about personal preference. Some people prefer side-switching designs, while others like tail-cap switches. Suffice it to say that the one you choose should permit you to turn the beam on and off easily and with certainty, with only one hand. Putting the Flashlight to Use in Self-Defense Once you do some research and handle a few models — and it’s crucial to handle them — buy the light you believe best suits your purpose. Now, what do you do with it in a self-defense situation? I don’t have the space to get into the actual techniques here, but generally speaking, you have a blinding tool in your hand that you can strike with. In the simplest terms, if a thug was to approach you in a threatening manner, you could flash him in the eyes with the beam and run. If a thug was to walk up and physically threaten you, you could hit him in the eyes with the beam and then hit him in the head with the light. See what I did there? The light can function as a simple bludgeon, held in your hammerfist and used to smash into arms, chests, faces, and hands. It can be used as a kubotan or pain-compliance tool with a little familiarity and training. Either end of the light can be used against clenched hands or used to concentrate force into a small area, generating excruciating pain. The barrel can be used to roll against nerves in the wrist, creating some good pain as well. You also can wield a light like a dan bong — by holding the head (which is why I prefer lights with a head rather than designs that have a uniform diameter) in the ring created by your thumb and index finger. The rest of your hand cups the head, and the barrel protrudes from your hand. From this grip, you can whip the light and snap-strike targets effectively. Finally, you can hold it between your thumb and little finger in a way that permits usage as a koppo. That enables you to slap an adversary in the face or head, as well as parry a punch. The Flashlight: A Fight-Bender, Not a Fight-Ender Like a pocket stick, a flashlight likely will be a “fight-bender” and not a “fight-ender.” It can buy you time, distract, and dissuade. But unless you literally knock someone out with it while you’re in an adrenalized state, your opponent probably will keep fighting. The most important thing to remember regarding flashlight self-defense is this: Like with any purpose-built weapon, if you find yourself having to grab it, that should trigger your brain that you’re in a potentially dangerous situation and need to get the hell out of there. And like with any other tool, it’s the user that makes it effective. Otherwise, it’s just an object. If you’re going to carry a light for self-defense, you need to train with it.

You've Learned Your Kata. Now It's Time to Modify Them So You're Better Prepared to Defend Yourself Against Any Adversary! When facing a real attack, creativity and quick thinking are critical for survival. The problem is that, in moments of stress, most people tend to fall back on a single, familiar response—whether it’s worked in the past or not. This tendency is one of the main challenges martial artists must overcome, and the goal of martial arts training is to help you avoid it. Training in martial arts is designed to develop your ability to solve a variety of tactical problems during a crisis. This process cultivates several key attributes, with mental flexibility  being the most important. Interestingly, traditional self-defense arts help foster this mental flexibility through kata. Combat the Old Way Kata have been a core element of martial arts training for hundreds of years. What makes them such an effective learning tool is often what’s overlooked in many modern schools today, where forms are treated like a mere curriculum requirement. However, classical kata are composed of actual self-defense techniques based on solid fighting principles. To truly improve your proficiency, you must begin to practice your forms “for real.” This means not only performing kata solo but incorporating bunkai —two-person applications practice—into your training. Some practitioners claim to practice bunkai, but they’re missing the mark if their practice involves defending against stylized attacks that don’t mirror what they might face in a real-world encounter. Similarly, they’re misled if they rely on distance and anticipation in response to these stylized attacks. True bunkai involves applying the movements from kata to real forms of aggression. Note:  To test whether you're practicing true bunkai, have your training partner attack with intensity and realism. If your response doesn’t work under these conditions, it’s probably not true bunkai. Changing Tradition When kata training is approached correctly, you begin to uncover a simple, realistic, and usable interpretation for every movement in the form. Each movement is linked to a real-world response to a likely attack, and the kata are generally taught with the assumption that the attacker is roughly the same size as the defender. But what if you’re a 5-foot-6-inch, 125-pound woman training in a dojo filled with 6-foot-tall, 200-pound men? Clearly, the standard techniques may not always be effective as taught. This is where kata training’s true value lies. The first key is understanding that kata are practical and that their practicality is fully expressed through realistic bunkai. The second key is recognizing that effective bunkai is ultimately about understanding and applying the underlying principles of a technique. In other words, mastering one kata move gives you one solid technique, but understanding the principles behind that move opens up a thousand variations. So, how can kata be taught and practiced in a way that maximizes both usefulness and conceptual understanding? The answer lies in giving yourself permission to think creatively about forms and to develop a variety of bunkai that work for you . You need to be free to experiment in the dojo. Experimenting with Kata There are many ways to experiment with kata to make it more applicable for self-defense. A simple method to get started is to change the timing and emphasis of movements. Take the downward counter (gedan-uke), for example. The typical emphasis is on the downward strike, but if you instead focus on the beginning of the movement when your hand comes up near your opposite ear, you may discover another striking action hidden within the form. In this case, your downward counter isn’t a low strike moving away from your body—it becomes a rising strike directed toward your body. Another way to experiment is by working backward: Start with bunkai you already know and apply it to a different-sized or differently-abled opponent. Pay attention to any modifications you could make to execute the technique more effectively. Once you’ve identified a useful modification, try applying it to your solo kata performance. The key is to allow yourself to think freely and creatively. Experimenting with kata becomes a form of self-expression, which leads to creative thinking and the discovery of new self-defense principles. This, in turn, helps you develop the skills to solve tactical problems and devise effective solutions when facing stress or danger. Not Abandoning Tradition Some traditional practitioners may resist the idea of modifying kata, fearing that it implies abandoning the "orthodox" form, which is central to many martial arts philosophies. However, modifying a kata doesn't mean you’re discarding tradition. In fact, it's a valuable practice to first learn the orthodox kata, then perform a personalized version of the same form. There’s also concern among some instructors that allowing students to personalize the art could create confusion. But imagine the benefits if students were taught to think critically and creatively on their own, rather than simply parroting the teacher’s movements. They would gain much more from each class, especially when struggling to make a technique work. Instead of following rigid forms, students could modify movements to find alternative methods that suit their own abilities. This freedom to adapt could solve a number of common dojo problems. For example, students often think there's only one "right" way to perform a movement, but this can lead them to force the technique through sheer strength, sacrificing proper form. When students are encouraged to adapt techniques to their own body mechanics, they begin working independently to improve their overall martial skills. Solving Additional Dojo Problems Another common challenge in many dojos is the gender disparity—karate is often a male-dominated activity, especially among adults. Yet, if you look at kids' classes, the gender mix is much more balanced. Why do some girls quit karate as they get older? There’s no single cause, but one contributing factor is that girls aren’t taught how to adapt techniques to work for their bodies. Early on, when boys and girls are about the same size, most techniques work for everyone. However, as they grow older and the disparity in size becomes more apparent, girls may find they can no longer muscle their way through techniques against larger male partners. Unfortunately, many instructors don’t have the time to teach every student a different variation of each technique to make it work for them. This is where the freedom to experiment with kata becomes invaluable. By allowing students to modify their kata, especially in bunkai, girls (and anyone else who might face size or strength challenges) can adapt their techniques and continue to train effectively. A bonus benefit of this approach is that it also helps resolve the issue of training partners who may not always attack “helpfully,” especially when the male partners try to overpower female students. When students have been taught how to modify their kata for different circumstances, they are better prepared to adapt to unpredictable situations while still utilizing the framework of the kata. For students who embrace this approach, kata becomes a dynamic tool, something that can be manipulated and shaped to fit a wide variety of combative circumstances. These students will be better prepared to think on the spot, adapt their techniques in real-time, and improve their sparring skills by learning to think outside the box. In a self-defense situation, they’ll be less likely to freeze when a standard technique doesn’t work. The most important skill in combat is the ability to think clearly—and kata, when practiced creatively, is the perfect tool for developing that skill. April Taylor is a 31-year-old practitioner of Ryukyu kempo, a 5-foot-6-inch, 125-pound woman who trains routinely with 200-pound men. Chris Thomas is a long-time martial artist whose articles have appeared in Black Belt magazine since 1981. He’s also April’s father.

When you think of The Karate Kid  and Cobra Kai , what comes to mind? The legendary crane kick? The clash between aggressive violence and peaceful philosophies? Or maybe the “old-school” training techniques, like waxing cars? The Karate Kid  franchise has become a cultural touchstone, inspiring generations with its messages of discipline, perseverance, and self-defense. Martial arts schools worldwide saw a boost in interest after the film’s release, and when Cobra Kai  reintroduced the series in 2018, it reignited those same themes—plus some epic fight scenes. While the franchise delivers plenty of drama and flashy moves, it also draws from authentic martial arts techniques to bring its action to life.  So, what real martial arts are at play in The Karate Kid  and Cobra Kai ? The Roots of The Karate Kid : Where It All Began Before diving into Cobra Kai , it's essential to revisit the martial arts foundation of The Karate Kid  (1984). In the original film, Mr. Miyagi (Pat Morita) teaches Daniel LaRusso (Ralph Macchio) a fictionalized version of Okinawan goju-ryu karate , blending hard and soft techniques. Goju-ryu emphasizes powerful strikes, joint locks, and controlled breathing, mixing strength with fluidity. While the film stays true to goju-ryu's basics, it also incorporates creative liberties, blending elements from other martial arts. Mr. Miyagi’s unconventional teaching method—using everyday tasks like waxing cars—embodies core martial arts values like patience, balance, and focus.  Fun fact:  The founder of goju-ryu was Chōjun Miyagi. Does that name sound familiar? Martial Arts Diversity in Cobra Kai As Cobra Kai  has evolved, so has its representation of martial arts. The characters’ growth is mirrored in the diverse fighting styles introduced on-screen. While karate remains central to the story, new styles reflect different characters' philosophies and development. Johnny Lawrence’s aggressive Cobra Kai  methods directly clash with Daniel’s balanced Miyagi-Do Karate , providing a compelling exploration of varying martial arts approaches. One major style that has taken center stage is tang soo do . Tang Soo Do: From the 1940s to Cobra Kai Tang soo do , created in the 1940s, merges elements from Okinawan Karate and kung fu. Though it contributed to the creation of taekwondo  in the 1950s, it remains practiced today, particularly in the United States, to preserve traditional Korean martial arts.  In Cobra Kai , tang soo do is portrayed as a fast-paced, offensive art, with powerful kicks and strikes. But at its core, it focuses on self-defense, respect, and personal growth—principles deeply tied to what one might actually experience training with Mr. Miyagi. Martial Artists Behind the Action: Experts Who Shaped the Franchise The iconic fight scenes in The Karate Kid  and Cobra Kai  wouldn’t be what they are without the martial artists who brought their expertise to the project. From Darryl Vidal and Pat Johnson to Fumio Demura and Jackie Chan, martial arts veterans have ensured the franchise “walked the walk” when it came to martial arts. Let’s dive into two stories of those who helped the film franchise get its roots established. Pat Johnson: The Choreographer Behind the Action Pat Johnson, a martial artist with black belts in Tang Soo Do  and Shotokan Karate , shaped the fight choreography for The Karate Kid . His work on the film’s tournament scenes, particularly Daniel’s final battle with Johnny, became legendary.  Johnson also made a cameo as the referee in the All Valley Karate Tournament, cementing his connection to the franchise.  His deep martial arts knowledge helped ensure that the action was both thrilling and authentic to karate. Fumio Demura: The Martial Arts Consultant Fumio Demura , a world-renowned shito-ryu karate  master, played a pivotal role as the martial arts consultant for The Karate Kid . He worked closely with Pat Morita (Mr. Miyagi) to train him in Karate’s movements and philosophies.  Many of the film’s most memorable scenes, like the iconic "wax on, wax off" training sequence, were inspired by Demura’s real-life teachings. Demura also served as Morita’s stunt double in certain scenes, adding extra realism to the film’s fight sequences. A Legacy of Martial Arts and Cinema Pat Johnson and Fumio Demura’s contributions helped shape how karate was portrayed on screen, blending tradition with mainstream appeal. Their expertise influenced the choreography and reinforced the deeper themes of personal growth and discipline that martial arts instills. In modern times, The Karate Kid franchise continues to thrive, carrying their legacies forward while introducing a new generation of martial artists to the franchise.  Real-life black belts and world champions like Justin Ortiz, Rayna Vallandingham, and Jewelianna Ramos-Ortiz in the Cobra Kai  series help preserve the spirit of The Karate Kid , ensuring the authenticity of martial arts remains alive and relevant in today’s world. Whether you're team Cobra Kai, Miyagi-Do, or even Eagle Fang Karate, one thing is certain— The Karate Kid  will forever hold a special place in our hearts.

There are lots of mistakes to be made when learning the sword - beginning with picking one up without having had proper instruction. Here, though, I'll talk about the mistakes we see in the handling of the katana on the silver screen. I'm sure you've seen several of them. THE METALLIC ZIINNGG You hear this when a character draws or sheathes a sword. In fact, it's a sound that's added in postproduction.  The saya, or scabbard of a Japanese sword, is made of wood. Properly constructed, the blade "floats" in the scabbard, touching the wood only at the collar at the top of the hilt. If you hear a lot of noise when someone draws a sword, it indicates that the person is scraping the blade on the says. It's actually possible for such a swordsman to cut through the soft wood of the scab- bard and into the hand that's holding it. When you draw or sheathe a katana, there's usually just a faint rustle. It may not be as dramatic as a ziinngg but it is the accurate sound. BRIEFCASE GRIP Actors and models almost always hold a katana improperly. They clutch the hilt so it runs directly across their palms - much like you'd hold a briefcase handle. The correct tomato, or grip, has the hilt laid at an angle across the palm with the hand looking much as it would if it was holding a pencil. You can see how inefficient the brief- case grip (called gyakute) is by holding a wooden sword in front of you with the tip pointing straight out. Allow the sword to swing down vertically in front of your body, and you'll find that even before the tip reaches knee level, your wrist must bend to keep the weapon moving down- ward. A bent wrist means loss of power. Hold the sword in a diagonal grip across your palm (honte), and your swing will go lower easily-without "breaking" the wrist. GETTING IT BACKWARD Moviemakers seem to have a fascination with characters holding the katana back- ward, so the blade protrudes from the bottom of the fist. Zatoichi, the famous "blind swordsman," used this, and it sure looks cool. To see how useful it would be, though, you should try pounding a nail with a hammer held the same way. Swords, like hammers and other tools, are designed for specific purposes and meant to be used in specific ways. In blade battles, life and death could be determined by fractional advantages in length. Holding a sword backward reduces the weapon's effective length. If, perchance, your life ever depends on cutting with a sword, unless you're a blind 18th-century masseur, don't use a reverse grip. CHOKING UP Another common mis- take in cinematic swordsmanship is choking up too far on the hilt. Actors like to grip the katana so the top of their right hand touches the hand guard. The metal tsuba, or guard, that they're touching usually has decorative carving. In real life, it quickly would scrape the skin off the user's hand. A correct grip entails keeping at least a finger's width between the guard and the top of the hand. DRAMATIC POSING Actors - and many poorly trained martial artists seem to think Japanese swordsmanship consists largely of striking dramatic poses. The most common is clutching the katana vertically by one's head so the right elbow sticks out parallel to the ground. I call it "The Arnold" because it's constantly used in sword-and-sorcery movies like Conan the Barbarian. In real swordsmanship, this looks something like the posture of hasso. The difference between the real and the theatrical, however, is that in the former, the elbow hangs down naturally. Hasso kamae is just an adaptation of the way the sword would have been carried on a long march over one's shoulder. It's relaxed, easy to maintain. In contrast, the dramatic posture you see in movies would, if you had to maintain it for any length of time, have your shoulder aching miserably. CUTTING SWORDS Blade choreographers often make the same mistake we see in empty-hand action sequences: strike-block-strike-block. The swords- men seem intent on cutting each other's weapon in half. A maxim in dojo where real sword skills are taught is "Steel doesn't bleed." Another is "If you can block, you can strike." It's a losing strategy to respond to an attack by blocking it. Instead, make a counter that simultaneously deflects your opponent's blade. In classical kata training, wooden weapons do constantly clash. These, however, are training scenarios. The adept learns to leave a space in his attacks, one that would be dosed in real combat. Instead of clacking against his opponent's sword, he would be striking the body. This is only one of many misconceptions about kata-based training that lead to inaccurate conclusions based on a lack of knowledge as to what's really going on. REAL EXPERT Of course, movie swordsmanship has only one goal- and it isn't combative effectiveness. The purpose of sword work in films is to entertain. Real swordsmanship is not terribly exciting. Many years ago, Donn F. Draeger served as an adviser for a martial arts-related movie in Japan. The director excitedly explained that he'd found a "master" whose swordsmanship was incredible, filled with all sorts of theatrical, exaggerated moves. Draeger, who was among the most respected martial artists in the world at the time, agreed to review the master's technique. They faced off. Draeger saw an immediate weakness. He took advantage of it, moving his wooden sword fractionally. It was subtle, but in a real fight, he would have severely wounded the man. "Did you see that?" he asked. The guy replied, "See what?" Guess who was eventually hired to be the fight choreographer for the movie?

I recently read an article that was critical of randomized training as it relates to the CrossFit Games. My immediate response was: A)  I agree that the randomized CrossFit protocol does not “tunnel in” — that is, adhere to specificity to create skill mastery in a given sport. Such mastery comes only from sport- and skill-specific training. B)  It’s not surprising that the majority of CrossFit Games winners, as well as those who excel there, don’t adhere to the randomized protocol. Instead, they “gamify” their training to do better in competition. The Games are no different from any other sport in that they ask athletes to perform specific tasks, and the athletes must gear their training to those tasks or fall to competitors who have focused on those tasks. The concept behind randomization — and the reason it should appeal to martial artists — is to prepare for real-world situations rather than competition. In the real world, we have no specific task on the horizon, yet we may be called on to perform virtually any skill on any given day. We have no idea if we might have to sprint to escape a dangerous situation, draw from a steady reservoir of go-to stamina in a mass attack, or pump out an inordinate amount of power in a battle with a heavyweight. For martial artists, real life is not a game with a guaranteed task list. It’s unpredictable. It’s randomized. The article’s critique pointed out that randomized training does wonders to a point, but then a plateau is reached. Is that a bad thing for us? Not necessarily. A plateau will affect us only if our goal is to compete in, for example, powerlifting, Olympic weightlifting, marathons, or the CrossFit Games. If our goal is to make the performance of an exercise our “sport,” then randomized training is for naught once we pass the acclimatization stage. All practitioners of the combat arts — traditional martial artists, competitive grapplers, kickboxers, even operators in the military and law enforcement — have it different. As the true first responders, we need a plateau of robustness built by randomized training. What we desire to engage in after reaching that plateau is not more and more push-ups, heavier and heavier lifts, or longer and longer runs. Once we hit the plateau, we want to maintain our level and use it as a jumping-off point for our combat training. Our goal is not to be the elite doer of exercises. We see clearly that exercise, no matter how elite the performance of said exercise, is a preparatory action and no more. Exercise is a means to prepare our body and mind for the rigors of our martial art. To spend the rest of our lives getting better at our preparation is a bit of wheel spinning on par with getting better and faster at writing our ABCs or reciting the multiplication table as opposed to taking the alphabet and creating new sentences or applying mathematics to real-world needs. That said, the article was correct: To excel at any given sport, we must groove that sport, so to speak. But to prepare for chance or chaos — which is precisely what martial artists train for — we must build a randomized base. To all my combat brothers and sisters working on mastering martial arts, I say go ahead and create an admirable randomized plateau. Then, instead of dumping all those extra hours into climbing to the next plateau, spend your time polishing your martial arts skill set. In short, CrossFit is great for you, both because of the workout you get and because the short duration of the sessions leaves plenty of time for the dojo. Just don’t let the pursuit of a Hero WOD (Workout of the Day for the uninitiated) distract you from your designated grappling WOD or heavy-bag WOD.

In the world of talent, success is often contagious. If there’s anyone who’s proven this truth time and again, it’s martial arts tournament champ and action star icon Mike Chat. His career is an undeniable example of how top-tier talent not only attracts, but also nurtures more top-tier talent. His track record of guiding world-class athletes and stars speaks for itself. Whether you recognize him as Wizard from WMAC Masters  or as the legendary Blue Ranger from Power Rangers Lightspeed Rescue , Mike’s face likely graced your TV screen while you were growing up. Today, you can spot the stars he’s mentored in modern-day entertainment. From Rayna Vallandingham , now a standout on Cobra Kai , to Chris Brewster , known for his action design work in Marvel and DC films, Mike has been coaching world champions and Hollywood superstars for years. So, what’s his secret? It’s not a single answer, but rather a combination of elements that enable Mike to inspire excellence in others. We sat down with him to discuss his approach—how he's accomplished so much over the years, the key ingredients to success in any field, and the actionable steps you can take to level up, whether you're aspiring to be an action hero or a martial arts world champion. Black Belt: Can you give a little insight, a little backstory, on WMAC Masters. How did the “Wizard” come to life? Mike Chat: That's a great question…because I've haven’t been asked how it came to life. I’ve been asked how was it to play the character. The character came to life by actually collaborating with the producers. They came to me. So, first I was put forth by Pat Johnson, Larry Lam, Ho Sung Pac, Herb Perez, many of the talent that were already on season one, they pushed very hard for them to bring me on.  It was multiple conversations with the producers over the course of six to eight months, and they asked what would you want your character to be? What would you want your character to look like? And, I mean, I had people designing a character and my look and it kind of evolved over time. I had it very clear; I wanted to play like this old-school, Jet Li, kind of Wong Fei Hong character. The long braided hair and my hair was already down to [my shoulders] and growing. I wanted the whole traditional thing. Maybe, a farmer's type of outfit with the tabby boots and the crisscross stockings and, big kind of like an old school farmer or Raiden's hat. And that kind of evolved into what my character's outfit wound up being. They were super cool in allowing me to be part of the creation of the look of the character. I didn't have anything to do with the storyline, but the personality of the character...they essentially wrote it in a way that reflected my personality of, what I wanted this character to be–this self-righteous, do good, one for the people, one for doing the right thing.  And so, I wound up being the good brother versus Larry Lam’s Warlock, the bad one. That's how it came to be, which is actually really cool because…when does that happen? For an actor to, for their very first show, be consulted on what they want their character to look like, right? That happens in development. Typically as a new actor, you get hired to play the part. You don't get to develop the part unless you do that on your own. So for me, that was incredible.  More to come in an upcoming print issue!

It doesn’t matter whether you practice boxing, judo, jujitsu, karate, kendo, or tai chi. It doesn’t matter whether you choose to use a staff, a stick, or a fist. All martial arts are based on three simple rules. What distinguishes one system from another is the way those rules are implemented and the strategies that grow out of them. That’s why the best people in any martial discipline recognize the excellence of others whose arts, while seemingly different, are surprisingly similar in execution. They’ve all solved the same puzzle, each accenting different components of a single answer. When judo founder Jigoro Kano first saw Morihei Ueshiba's aikido, he reportedly said admiringly, "That is my judo." Both masters appreciated and respected the modern karate fashioned by Gichin Funakoshi. At a practical level, all martial arts deal with the same thing: surviving and then prevailing in a confrontation. The style a person chooses depends on body type, personality, and location. A student picks an art not simply because it fulfills a need but also because the school is nearby. My First Lesson in Martial Arts Unity I first learned this in the 1970s at a martial arts convention in Tennessee, where experts in Burmese bando, Chinese tai chi, and kung fu demonstrated alongside Japanese aikido, judo, karate, and kendo instructors. The proponents of each style watched their counterparts with attention and appreciation. When I asked which was best, they laughed. The best are those who survive, the masters said, and all those who demonstrated were survivors. There was no "best" among them. Over time, I came to understand the apparent diversity of practice and technique that masks what all practitioners share. One summer, I taught bo techniques to a Muay Thai fighter who also had an interest in Filipino stick fighting. We learned from each other because each was better at certain distances and in certain situations. Irrespective of technique or training style, we shared a focus on solutions to the same set of directives. Rule #1: Don’t Get Off-Balance Being off-balance is being vulnerable, and vulnerability invites danger. In every art, footwork keeps you grounded (literally) and therefore solid on your feet. It also keeps you mobile, ready for whatever comes your way. The goal of great footwork is to enable you to move so you’re balanced and so your opponent can’t easily off-balance you. Inherent in every attack and most defenses is the potential for off-balancing. Kick, and there’s the possibility of getting caught by a foot sweep or leg grab. Punch, and your weight shifts, opening you to a stumble. Back away, and your attacker may move with you in an effort to cause you to trip. This is why footwork is seldom static. Rule #2: Don’t Get Hit It seems self-evident, but it's a hard lesson to learn. Unless you’re an ironman who doesn’t mind being pummeled, staying balanced is not enough if you stand in the way of your opponent’s attack. All blocks are methods for deflecting the arm, leg, or weapon that’s careening toward your face, torso, or wrist. All footwork that ensures balance also permits you to reposition yourself in relation to the attack. When you’re skilled, you move just enough to avoid the attack while staying balanced. In most martial arts, you learn not to be afraid of being hit, to accept that training comes with some bruising. And that makes sense. It’s not that you want to be a superman who can absorb any strike—nice though that would be. It’s that fear stems from repeatedly putting yourself in situations where you’re off-balance, giving your opponent the opportunity to strike. As you learn to maintain your balance while avoiding those attacks, you lose your fear. Rule #3: Remember the Second Attack This rule can also be understood as "remember the second attacker." It’s rarely the first strike that brings you down—it might not even be the first striker. Fights are like ballet dances, full of multiple moves and often multiple movers. Defending against one attack only to be felled by a follow-up blow is defeat piled on victory. This is why zanshin —the focus of the adept who doesn’t relax after executing a single technique or its counter—is so highly regarded in traditional arts. Remaining attentive and balanced is preparation for whatever or whoever comes next. It does no good to subdue the bar brawler with a broken bottle in his hand if you ignore the friend who’s swinging a bar stool at your head. In Concert: The Three Rules Together These three rules can’t be separated—they always work together. Being aware of the next attacker or the follow-up attack is, of course, a way of not being hit (Rule #2). And not getting hit means staying balanced (Rule #1), poised in relation to the room, even though it’s littered with chairs, tables, and rugs that can steal your balance. Knowing those things are around—and potential traps to your balance and thus survival—is what zanshin  (Rule #3) is all about. Here’s where it gets more interesting. Each rule leads to a strategy, a method of application. “Don’t get hit” is great, but it doesn’t go far enough. Only the very best can dodge an attack again and again until the attacker is so exhausted that aggression ceases. Even those who are that good will seek to end the encounter as early as possible. So, not being hit is not enough. The strategy is to be safe and, at the same time, be in position to deliver a kick, strike, or throw in response to an attack. This is part of tai sabaki , the body movements that position the fighter safely and strategically in relation to the opponent. So the real idea here is not only “don’t get hit,” but also “be in a position to strike or throw while doing so.” In the same vein, staying balanced is not in itself a recipe for survival. Strategically, you have to be balanced in a place where your opponent is off-balance. By ensuring your own balance, you’re ready to take your opponent's balance. Stumbling and fighting to stay on his feet, the opponent attacks but quickly grows weak, which leaves him open to a final technique from his balanced adversary. Finally, being attentive to the follow-up attack or attacker means being in position to take advantage of whatever comes next. Moving in and to the side of a standard straight punch lets you begin off-balancing that continues if the attacker pulls his arm back for an elbow strike. If he spins with the off-balancing, readying his other hand for a strike, you enter with a throw. And if he goes down, you don’t simply stand triumphant; you continue to move so the downed body is a barrier for anyone else coming at you. In other words, it’s not over when it’s over. It’s over when the field is clear, and no new aggression is expected. Such a lack of certainty and predictability led wise martial artists to devise these three strategies to enhance your chances of success. Strategy No. 1: Learn Footwork Footwork is essential for positioning your body without losing your balance. While different martial arts may have unique movements, there are six distinct stepping patterns that all arts share. These fall into two classes: footwork that functions when you’re in close (stepping into your opponent’s center or to their side) and footwork that brings you into close proximity. The latter is especially crucial for weapons training and martial arts like karate, where you need to close the gap quickly to land a strike or evade an incoming one. In judo, for example, makikomi  is not just about executing the throw; it’s also about stepping into your partner’s balance and making it your own. Aikido has footwork patterns like irimi  and tenkan , which involve stepping around or beside your opponent to disrupt their balance while slipping a strike or initiating a throw. Boxers have perhaps the best methods for developing footwork. Skipping rope helps with timing, while the rapid shifting of the feet provides excellent control in the fight for space. In the Rocky  films, Mickey trains Balboa to chase chickens to improve his footwork—an exercise designed to teach balance and speed in relation to someone else. “Stick and move” is not just about dodging; it’s about delivering a strike from a position of safety, moving away from a counter, and into a better position to attack again. Strategy No. 2: Have a Mantra Here’s a mantra for training that maximizes strategic effectiveness: “It’s not about you.”  Martial arts are never just about the individual’s strength or skill. They are about interaction—about two people working within the same environment. That’s why many Japanese texts don’t use terms like nage  and uke  (attacker and defender); instead, they use aite , meaning "partner." Martial arts, at their core, are collaborative. This lesson was taught by Mr. Miyagi in The Karate Kid . He teaches Daniel LaRusso that it’s not about fighting his opponent, but positioning and timing in relation to the other person. When John Kreese, the Cobra Kai instructor, challenges Miyagi, he’s focused on his own strength and confidence. But Miyagi knows that positioning is everything. He turns slightly to guide Kreese’s punch into a car window, breaking his hand in the process. This shows that martial arts aren’t about power; they’re about using your environment and your opponent's actions to your advantage. Strategy No. 3: Recognize the Differences — and the Similarities What distinguishes one martial art from another? The first thing is the distance between you and your opponent. Aikido primarily focuses on throws from middle or close distance. Judo, on the other hand, focuses on close-in throws and groundwork. Karate and many styles of kung fu typically train at a middle distance, with emphasis on kicks and strikes. Tai chi works on off-balancing at close to middle distances. But this is only the starting point. Once the distance is reduced, the techniques start to overlap. The karate expert may use a judo-like foot sweep, aikido throws also involve strikes up close, and tai chi practitioners may use wrist locks similar to those in aikido. In my experience cross-training in Muay Thai, I tried to move my partner in free practice, but he told me, “Don’t try to be me; just do what you do when I do my thing.” This is a critical point: each art has its advantages depending on timing and distance, but they all require you to stay true to your art’s principles. Understanding what binds martial arts together helps us appreciate what makes each style unique. It's not about which art is superior but about how they complement each other. I've learned this through personal experience—two of the worst beatings I ever received were from tai chi instructors in Taiwan and Hong Kong, while some of my most memorable victories were as an aikido practitioner facing a ninjutsu student and a karate black belt. This doesn't mean that one martial art is better than the other; it simply means that, in those moments, my practice and strategy were more suited to the match. The practice floor is where we grow, and sometimes, losing is the best way to improve. Great schools allow this growth, while bad schools, like the Cobra Kai dojo in The Karate Kid , focus too much on strength and winning rather than practice and improvement.

Mortal Kombat  is known for its brutal fighting and iconic characters, but what many fans don’t realize is that real martial artists helped bring these characters to life, both on screen and in the video games. From acting to choreography, these martial artists were essential to the series' success. 1. Robin Shou – Liu Kang Robin Shou, trained in Wushu , is best known for playing Liu Kang  in the 1995 Mortal Kombat  movie. His martial arts background gave him the skill to perform iconic moves like the flying kick and bicycle kick with precision. Shou’s performance helped make Liu Kang a beloved hero for fans around the world. 2. Katalin Zamiar – Kitana (and More) Katalin Zamiar did the motion capture for Kitana , Mileena , and Jade  in Mortal Kombat II  (the arcade game). A skilled martial artist with black belts in Taekwondo , Goju Karate , and Shorin Karate , Zamiar’s strength and athleticism helped make these characters iconic. Her background in martial arts was especially evident in her fight choreography, including the leg grab that became Sonya’s signature move. 3. Keith Cooke – Reptile Keith Cooke portrayed Reptile  in Mortal Kombat: Annihilation  (1997). Trained in Wushu , Taekwondo , and Karate , Cooke’s smooth, agile movements perfectly matched Reptile’s stealthy, quick nature, making him a standout in the film. 4. Chris Casamassa – Scorpion Chris Casamassa brought Scorpion  to life in the 1995 film. A Red Dragon Karate  practitioner and national champion on the NASKA circuit, Casamassa’s skills in martial arts made Scorpion’s fighting style stand out. His portrayal, especially the iconic spear move, cemented Scorpion as one of the franchise’s most memorable characters. 5. Linden Ashby – Johnny Cage Linden Ashby played Johnny Cage  in the 1995 movie. Though Ashby wasn’t a martial artist before joining the cast, he trained in Taekwondo  and Karate  to bring the character to life. His performance captured Johnny Cage’s cocky attitude and impressive fighting skills, particularly the infamous "nut punch." 6. Noah Fleder – Kenshi Takahashi (and More) Noah Fleder  provided the face model for Kenshi Takahashi  in Mortal Kombat 1  and did motion capture for several characters, including Kenshi , Smoke , Liu Kang , Reptile , Scorpion , and Sub-Zero . A black belt under Taekwondo  master Simon Rhee , Fleder’s martial arts training also includes Boxing , Wing Chun , Jeet Kune Do , and Muay Thai . His diverse skills brought authenticity and fluidity to his roles in the Mortal Kombat  franchise. 7. Brian Thompson – Shao Kahn Brian Thompson  played the villainous Shao Kahn  in Mortal Kombat: Annihilation . With a background in Hapkido , Thompson’s martial arts expertise gave Shao Kahn a powerful, imposing presence that matched the character’s menacing demeanor. 8. Anthony Marquez – Kung Lao Anthony Marquez  was the digitized actor for Kung Lao  in multiple Mortal Kombat  video game entries. With his experience in Kung Fu , Marquez helped bring Kung Lao’s acrobatic and dynamic fighting style to life, adding depth to one of the franchise’s most agile and skilled fighters. These martial artists, along with many others, played key roles in defining the Mortal Kombat  franchise. They didn't just play the characters—they became  them, delivering the kind of action that made Mortal Kombat  the fighting legend it is today. Their real-world combat skills, passion, and dedication helped turn this iconic series into a pop culture phenomenon that has everyone eager to "get over here" and dive into another round!

A fight is a clash between fully animated, independent combatants who are free to do whatever they want as they simultaneously attempt to impose their will on the other person. Each combatant typically has no knowledge of the other's abilities, athleticism, technique, or experience. Fights are unlike training sessions—in part because your regular partners will generally move as you do since you've been taught and trained together. Who the attacker may be in a self-defense situation is a total crapshoot; you never know who the hell he is or what his true intent is, just like you never know how the dice will come up when you roll them. Add to this unpredictable situation the notion of consequence. There are real consequences present in these situations that are impossible to replicate in training: namely, serious injury or death. When a predator attacks you, he is committed to doing you harm. There are consequences for doing nothing, just as there are consequences for taking action. This creates a tremendous amount of anxiety, which can significantly diminish your performance if you've trained poorly or have the wrong mindset. Street fights are made up of momentary, fleeting opportunities that present themselves suddenly and then disappear just as quickly. The combatant who is inured to the stress of combat through experience or arduous training is far more likely to recognize these opportunities and remain able to exploit them to his or her advantage. This is why realistic training with consequences—pain, potential injury, and so on—is so important. Kata won't get you there. Hitting pads won't, either. Drills? They fall short as well. You have to actually fight if you want to get good at fighting. Period. The Importance of the Right Mindset The mindset necessary to deal effectively with the fight environment is complex, but it can be summed up succinctly: You have to stop the attacker. And you have to stop him within the law. There are levels of force that are appropriate given the seriousness of the assault. You don't have to agree with that or even like it, but it is the law. You can't shoot someone because they raise their fist at you—unless you want to eat your meals out of metal trays with sporks for the rest of your life. When teaching boxing and Muay Thai, new students initially think their "defense" consists entirely of evasion, avoidance, and blocks. I spend a tremendous amount of time instilling effective footwork, slips, blocks, and various guards. But the truth is that while all of that is essential, new students still don't have an adequate defense until they can (and do) hit back effectively. You need to stop the advancing fighter by hurting him, making him realize that he, too, is at risk. If you don't attack and hurt an attacker, he will have no reason to stop trying to hurt you. Merely deflecting his strikes and trying to be evasive amounts to delaying the inevitable "big one" that puts you on your ass. The Concept of Self-Offense This brings me to the concept of "self-offense." I coined the term in the mid-'90s when I worked with Paladin Press to create an instructional DVD of the same name. The biggest misconception the term "self-defense" promotes is that no one will get hurt. It’s often seen as the “gentle art.” Gentle does not stop an attacker and help you survive a street fight; making him unconscious or hurting him until he can't continue to attack does. There's no safe way to do dangerous things. That's why they're dangerous. Fighting in self-defense is inherently risky. Training yourself to initially defend against an attack is important because, if you're unconscious, that's all she wrote. But training yourself to immediately attack is just as critical. If you don't, you'll find yourself stuck in the self-defense loop instead of attacking and stopping the aggressor. Training the Right Way: Attack First, Defend Second Training yourself to immediately attack an attacker is largely a pursuit of both mindset and efficiency. Focus on the rightful indignation you would feel were you to be unjustly attacked and on your intent to render him sufficiently injured or unconscious, thereby eliminating the threat. Remember that when you're hitting the pads and doing drills to increase your intensity. Most importantly, remember it when you free-spar, do randori, or engage in whatever form of person-on-person training you prefer. Try to focus on the most direct route(s) to stopping your training partner. Don’t use anything stylistic. Approach your training with the self-offense mindset and remember that what you're doing has nothing to do with an art form. Your only goal is to stop an unknown person with bad intent who's determined to hurt you.

In the world of martial arts, forms (kata) competitions have long been a showcase of precision, power, and artistry. Over the years, several women have risen to the top, setting new standards and inspiring generations of martial artists. Among them, Cynthia Rothrock, Christine Bannon-Rodrigues, Caitlin Dechelle, Haley Glass, Elsa Cordero, Sammy Smith, Mackensi Emory, and Gabriele Rudolph stand out as some of the most accomplished forms champions in history. Cynthia Rothrock: The Pioneer of Women’s Forms Competition Cynthia Rothrock is a legendary figure in martial arts, known for dominating the competitive circuit during the 1980s. As a five-time World Champion in forms and weapons, she shattered barriers for women in the sport, proving they could compete at the highest levels. Rothrock’s signature blend of speed, flexibility, and technical excellence made her a formidable competitor. Beyond competition, she transitioned into action films, becoming one of the first female martial arts movie stars and further cementing her legacy. Christine Bannon-Rodrigues: A Multi-Time World Champion Christine Bannon-Rodrigues is another martial arts icon, best known for her incredible performances in forms, weapons, and fighting divisions. She gained international fame in 1991 when she won three gold medals at the WAKO World Championships. Her precision and creativity in forms set her apart, and she has since dedicated herself to teaching, coaching, and promoting tournaments, ensuring the next generation of martial artists continues to thrive. Elsa Cordero: A Trailblazer in Traditional Forms Elsa Cordero is recognized as one of the top female competitors in traditional forms and weapons. With her deep understanding of classical martial arts techniques and her ability to execute them with grace and power, Cordero has earned respect both nationally and internationally. Her contributions to martial arts extend beyond competition, as she continues to mentor and inspire new generations of martial artists. Caitlin Dechelle: The Next Generation of Elite Competitors Caitlin Dechelle took the forms competition scene by storm, earning more than 90 world titles throughout her career. A protégé of legends like Mike Chat, she became known for her high-energy performances, blending traditional and extreme martial arts with unparalleled athleticism. Dechelle’s mastery in weapons and open-hand forms led her to a successful career in Hollywood as a stunt performer, doubling for stars like Gal Gadot in Wonder Woman . Sammy Smith: A Young Champion Redefining Sport Martial Arts Sammy Smith became one of the biggest names in modern sport karate. Known for her electrifying performances in creative and extreme forms, she has dominated the competition scene with her exceptional skill and athleticism. Smith’s ability to combine powerful strikes with high-flying tricks has made her a standout competitor, paving the way for the future of sport martial arts. Mackensi Emory: A Dominant Force in Extreme Forms Mackensi Emory is one of the most accomplished and influential martial artists of her generation. A multiple-time world champion, Emory has set the standard for extreme forms and weapons with her flawless execution and unparalleled difficulty in routines. Her ability to seamlessly blend speed, precision, and acrobatics has earned her international recognition, and she continues to push the boundaries of what’s possible in competitive martial arts. Gabrielle Rudolph: A Skilled Competitor with Global Recognition Gabriele Rudolph has made a lasting impact on the martial arts world through her dedication to forms and weapons competition. Known for her technical excellence and fluid movements, she has competed at the highest levels and earned prestigious titles. Her influence in the sport extends beyond competing, as she works to promote martial arts and encourage more women to take part in high-level forms competition. Haley Glass: A Rising Star in Forms and Weapons Among the newest generation of martial arts champions, Haley Glass has made a name for herself as an elite competitor in forms and weapons. With an innovative style and a commanding stage presence, she has won numerous world championships in extreme and traditional divisions. Her dynamic performances, featuring intricate weapon manipulations and explosive movements, have solidified her reputation as one of the top female martial artists in the sport today.

During a match, a young grappler thinks he’s safely passing his opponent’s guard to get to a better position. Then he feels an intense pain in his bent arm — like his muscles are about to explode. He’s forced to tap out even though he doesn’t know what just happened. The grappler learns that he was caught in a biceps slicer. Many unwary martial artists have been lured into passing their opponent’s guard only to be caught with this move. The biceps slicer belongs to the family of submission techniques known as compression locks. Also called muscle locks, muscle slicers and muscle crushers, this category is composed of devastating holds that inflict intense pain by pressing soft tissue (muscle or tendon) against bone.  In this tutorial, I will discuss three compression locks: the Achilles lock, the biceps slicer and the leg slicer. They’re taught in Brazilian jiu-jitsu (BJJ), sambo and catch wrestling, but they’re considered unorthodox submission holds and, therefore, are not used often in training or competition. For that reason, the application of any of them is bound to incorporate the element of surprise, which is never a bad thing in a contest. ACHILLES LOCK   AKA: Achilles Hold, Achilles Squeeze  TECH DATA:  The Achilles lock is probably the most commonly used compression lock. It induces intense pain by pressing the Achilles tendon against the lower-leg bone or ankle. In general, that happens when you sink the bony part of your forearm into your opponent’s Achilles tendon while using your foot and leg to immobilize him and boost leverage. When you use the Achilles lock, think of the trapped ankle like a miniature neck that you’re attacking with a guillotine choke. Along with the heel hook and toehold, the Achilles lock is a staple of leg-lock specialists because of its effectiveness. That makes it a valuable addition to your arsenal. TRIVIA NOTE:  The Achilles lock is detailed in The Canon of Judo , by Kyuzo Mifune. Called ashi-hishigi in the judo world, it’s categorized as a joint lock (kansetsu waza), but it’s not part of the Kodokan Judo Institute’s curriculum. BICEPS SLICER   AKA: Biceps Lock, Biceps Crusher  TECH DATA:  The biceps slicer induces instant agony by driving the biceps muscle into the humerus bone, which constitutes the upper part of the arm. Ideally, it’s applied by inserting the shin or forearm into the gap created when your opponent’s arm is folded, then pressing the sharp edge of the bone against his biceps. The trapped arm is compressed even more to up the pressure on the muscle. The biceps slicer benefits from the element of surprise because when they’re faced with the not-yet-completed technique, most martial artists will be preoccupied with possible hyperextension or hyper-rotation of the arm and thus won’t be ready to defend against the compression lock.  TRIVIA NOTE:  If your opponent believes he’s perceptive enough to detect and then resist an arm hyperextension, you can bend the limb into position for a biceps slicer in a heartbeat. Conversely, if he fights against your biceps slicer, you can transition to an arm lock that goes with the flow as he resists. LEG SLICER   AKA: Calf Slicer, Thigh Crusher  TECH DATA:  The leg slicer causes its incredible hurt by crushing the calf and/or thigh into the bones of the leg. Ideally, you fold your foe’s leg and insert your shin or forearm into the gap while positioning the bony edge of your limb against the muscle. Compress the bent leg a bit more and you’ll create great pressure on the leg muscles as they get squeezed between the leg bones. As with the aforementioned techniques, the leg slicer can take advantage of the element of surprise because during the lead-up, most martial artists will be concerned with avoiding hyperextension or hyper-rotation of their leg.  TRIVIA NOTE:  If your opponent is sharp enough to resist what he thinks is an impending hyperextension of the leg (such as a kneebar), you can bend his leg into a leg slicer. And if he fights what he thinks will be a leg slicer, you can transition to a kneebar. 7 KEYS TO SUCCESS  An effective compression lock hinges on your ability to execute seven points correctly. Seven of them are critical. They build on each other, so it’s best to learn them in order. Opportunity Presents Itself:  You must make the limb available to attack. In the case of the biceps slicer and leg slicer, that limb must first be bent. For the Achilles lock, you’ll need to have your opponent’s foot floating near your ribs to make securing the leg easier. Thin Part Goes in First:  When you’re inserting a limb for a biceps slicer or leg slicer, make sure you place the thinnest part of that limb near the flexed joint. That will enable you to easily tighten the lock by rotating and then pulling said limb. For the Achilles lock, position the bony part of your wrist on the Achilles tendon, not your meaty forearm. Make the Attack Perpendicular:  For maximum effectiveness in all these compression locks, ensure that your inserted limb is oriented at 90 degrees to the limb you’re attacking. Control the Lock:  Because your opponent will be resisting, you’ll need to maintain a solid grip on the flexed limb as you execute the biceps slicer and leg slicer. For the Achilles lock, concentrate on using your legs to control your opponent’s leg by pinching them together. That will minimize thrashing. Work at the End:  For the biceps slicer and leg slicer, compress the muscle at the end of the limb for maximum effectiveness. For the Achilles lock, position your forearm at the end of your opponent’s ankle (low on the leg). That will enable you to attack the Achilles tendon instead of the calf muscle. Not Tight Is Not Right:  For all three locks, try to eliminate gaps. Get your body in tight. There should be no empty spaces between your attacking limb and your opponent’s attacked limb. Use Your Entire Body:  Think “body unification” when applying any of these compression locks. For the biceps slicer and leg slicer, add a rotation and pull to achieve a superior lock. For the Achilles, rotate your wrist slightly to dig your radius bone into the tendon. If your right wrist is on the tendon, rotate your wrist slightly clockwise. For all the techniques, use your whole body, especially your bridging hips, for maximum power. MEDICAL IMPLICATIONS   Dr. Joseph Estwanik , M.D., was the ringside physician during the early years of the UFC. The orthopedic surgeon is the author of Sports Medicine for the Combat Arts , which means he knows all about compression locks and their medical implications. What possible injuries are associated with compression locks? Estwanik:  When the muscle or tendon is forcibly pressed against the bone — as typically happens with these locks — if you don’t tap out from the extreme pain, various degrees of bruising will occur. Bruising is internal bleeding that can be seen by discoloration of the skin. Even though there is great pressure, the muscle or tendon will not normally sustain a complete tear or rupture from these types of locks; however, other more serious complications could occur if the injury is more substantial. Collateral damage transferred to the adjacent or surrounding joints and bones is a great possibility. Using the Achilles lock, where the foot is often the lever to the lock, damage to the midfoot ligaments and bones could occur. While using the biceps slicer or leg slicer, the elbow, knee or surrounding bones could be damaged, including torn ligaments, dislocation or bone fractures. What’s the recommended treatment for an injury that stems from a compression lock? Estwanik:  Treatment varies. For minor injuries, bruising will occur, so ice — never heat — should be applied to the bruise. Icing a bruise will limit bruising and help the body heal the injury. Anti-inflammatories like Motrin can be taken, as well.  For recovery from severe bruising, perform non-forceful progressive range-of-motion movements so stiffness does not occur. More serious injuries, such as to the joints or bones, should be examined by a physician. A competent physician familiar with the mechanisms of injury within the martial arts will look completely up and down the chain of the injury for other problems. Injuries to the joints or bones may require surgery and could take many months to heal. Considering these possible outcomes to an injury from a compression lock, control and safety should definitely be kept in mind when applying these locks in training. CONCLUSION   In MMA bouts, compression locks are seldom used to end fights. They’re used much more often in submission-grappling competitions to elicit a tapout. Their use is often limited to the advanced divisions in submission-grappling events because of the above-mentioned dangers, which are more likely to afflict the inexperienced.  One reason compression locks are used infrequently in MMA is they’re specialized and unorthodox. Most mixed martial artists would be better off relying on high-percentage submissions like the rear-naked choke and armbar. In grappling, however, competitors tend to have more submission tools in their toolbox. That fact, coupled with the absence of strikes, means you have a much greater chance of seeing a compression lock in action. Incorporating the three locks described here into your grappling arsenal will increase your submission-hunting ability. They can be employed from a variety of positions on the mat, making them a real threat that’s often totally unexpected. As you practice them, remember the cautionary words of Dr. Joseph Estwanik. No one wants to inflict a serious injury on a training partner.  Finally, even if you never use a compression lock, the knowledge you’ve gained from this article will help you avoid being submitted by one of them. As in all martial arts, knowing the nature of the threat you face is essential to being victorious.

Released in 1995, Mortal Kombat  was a game-changer for both video game adaptations and martial arts cinema. Directed by Paul W.S. Anderson, it was the first film to successfully blend the fast-paced action of a popular video game with innovative special effects, creating a new benchmark for films based on video games. What made Mortal Kombat  truly remarkable was its cast of real martial artists, each bringing their unique expertise to the screen, including Robin Shou, Chris Casamassa, Keith Cooke, and a young Steven Ho. These martial artists didn’t just perform fight sequences—they helped shape the movie into an unforgettable action-packed classic. Robin Shou Robin Shou , who portrayed the heroic Liu Kang, was already a well-established martial artist before landing the role. An expert in Wushu , a traditional Chinese martial art, Shou’s fluid, dynamic fighting style perfectly embodied Liu Kang’s character from the video game. His impressive acrobatic techniques and ability to bring grace and power to his fight scenes helped elevate the character, making Liu Kang one of the most memorable protagonists in martial arts cinema. Shou’s background in Wushu, alongside his dedication to training, played a pivotal role in bringing authenticity and depth to the film’s fight sequences. Keith Cooke Keith Cooke , who played the formidable Sub-Zero, was another martial artist with a wealth of experience in Wushu  and other disciplines. Cooke was no stranger to action movies, having starred in China O’Brien  and King of the Kickboxers , both of which showcased his incredible martial arts abilities. His precision and mastery in various fighting styles were evident in Sub-Zero’s icy techniques, and his ability to perform complex choreography with smooth, controlled movements made Sub-Zero one of the standout characters of the film. Cooke’s Wushu expertise brought a fluidity to Sub-Zero's fight scenes, making them not just powerful but visually stunning. Chris Casamassa Chris Casamassa , who portrayed Scorpion, was another martial artist with an impressive career, having trained in karate and various other disciplines. His portrayal of the iconic character Scorpion brought a ferocity to the role, and his authentic martial arts experience allowed him to perform the character's most memorable moves with incredible skill. Notably, Chris Casamassa  also doubled for George Clooney  in the 1997 film Batman & Robin , proving his versatility as a martial artist and stuntman. His high-flying kicks and acrobatic fighting style in Mortal Kombat  created an unforgettable on-screen presence that helped make Scorpion a fan-favorite. His memorable line “Get over here!” became an instant catchphrase, solidifying his role as one of the film's most iconic characters. Steven Ho Steven Ho , a rising star in the martial arts world at the time, also played a crucial role in the film. As a stuntman and martial artist, Ho contributed to some of the most intense fight scenes, using his skills to double for the lead actors and create thrilling, high-octane action sequences. His background as a stunt performer and martial artist helped bring realism and excitement to the film’s fight choreography, making each battle feel raw and authentic. What truly set Mortal Kombat  apart from other films of its time was its innovative use of special effects. As one of the first films to take a video game and adapt it into a live-action experience, it pushed the boundaries of what was possible in terms of visual storytelling. The movie blended practical effects with groundbreaking CGI to create unforgettable moments, including the legendary fatalities and the mystical powers of characters like Shang Tsung. The film's visual effects were revolutionary for its time, setting a precedent for how video game adaptations would evolve in the years to come. Even thirty years later, Mortal Kombat  remains a remarkable film, not only for its martial arts expertise but also for its pioneering use of special effects. It showcased the talents of real martial artists like Robin Shou, Keith Cooke, Chris Casamassa, and Steven Ho, whose skills and dedication to their craft helped make the film a classic. The success of Mortal Kombat  paved the way for future video game movies and influenced the way martial arts choreography and special effects would be incorporated into action films. Its enduring popularity speaks to the timeless appeal of its iconic fight scenes, memorable characters, and its legacy as a true martial arts masterpiece that still resonates with audiences today.