MASTER CROW's blog: "Ninjutsu!!!"

STEALTH It is often said that the Ninja is a supreme master of stealth, able to vanish in a puff of smoke or change into a wild animal form in order to facilitate an escape. In actuality it is the Ninja’s understanding of invisibility that gives them the advantage. Invisibility in reality is simply knowing how to fool the enemies senses in order to remain undetected, much like a magician misdirects in order to mystify and confuse. There are two natural senses that are the focus of study. The first is that of Sound. Noises attract attention, and if the mind fails to identify a sound, it becomes curious. This is where the Ninja employs the art of “Himitsu iri,” the ever-elusive method of “Silent movement.” This art serves as a foundation for all aspects of the Ninja lifestyle. Everything must be approached in a subtle manner if ones endeavors are to remain a secret. The Ninja’s first lessons in stealth are those pertaining to “Kage aruki,” or “Shadow steps.” These walking movements increase the warrior’s efficiency at adapting to specific situations while remaining stealthy. Different types of terrain, varied foliage, sloping rooftops, inner floors of structures, all of these variables are embraced so that silence can be maintained. KAGE ARUKIJUTSU - THE ART OF SILENT WALKING The Kage Aruki walking techniques were perfected by Ninja field agents during the course of their missions. It is the use of proper weight distribution, mental awareness and general feats of dexterity that enable an operative to carry out these acts of stealth. To move soundlessly requires the warrior to commit themselves to countless hours of practicing and perfecting their technique. Traversing every type of terrain imaginable so that when specific surfaces are encountered during field operations, they are fully prepared to surpass them in a silent fashion. However, these walking techniques alone do not magically endow one with the ability to move unheard. These steps are simply tools used to increase ones ability to move with more grace and elegance. In actuality, stealth becomes a skill the warrior attains without really being aware of it. It is a result of their unarmed, acrobatic and weaponry training. This happens because the warrior has attained a intimate knowledge of the body and how it works. Walking on all angled surfaces requires this process. HAYAGAKEJUTSU - RUNNING SKILLS Also included in Himitsu iri is the art of “Hayagakejutsu,” which is the method used to develop greater speed and stamina when running. These techniques require that the Ninja go through a set of rigorous training sessions that are designed to increase speed by applying different principles of body weight distribution. These running techniques combine stealth and speed. To initiate this technique, the Ninja assumes a low Hiryu posture with the upper body leaning deeply forward. As the warrior runs in this position, he is not only using the power of his legs, but also his upper body because it actually pulls the body forward into a faster run. The body must not bob up and down as the Ninja runs and the arms should not move at all. Instead, the arms should remain as motionless as possible so as not to attract unwanted attention. The legs are the only part of the body that alternate motion. HOFUKUJUTSU - CRAWLING SKILLS Another unique method of silent movement is the art of “Hofukujutsu,” in which the Ninja employs different methods of low movement to avoid detection. One such method is “Ryohebi no jutsu,” or the “Serpent crawl,” in which the Ninja walks on all fours with his stomach very low to the ground. The serpent crawl provides the Ninja with a very fast method of low movement when travelling beneath the enemy’s line of sight. One of the best crawling techniques is that of “Shinso toho no jutsu,” or the “Deep grass rabbit” technique. This tactic is used when the Ninja is moving in extreme darkness and wants to avoid making noise by tripping or bumping into anything. This technique is accomplished by walking on all fours while scanning softly in all directions with the hands and feet. Although this is a very slow process, it is also very effective. GIONJUTSU - FALSE SOUNDS There are instances when the Ninja may accidentally make a noise. When this occurs, the Ninja must not panic. Instead, he should learn to cover his mistake. This is accomplished through the use of a very ingenious art. “Gionjutsu,” the art of employing “False sounds” is extremely effective. In the application of this method, the Ninja creates noises that might deter attention from his presence. Therefore, if an enemy sentry was patrolling the land surrounding their lords castle and he heard a strange noise, he would most certainly investigate. This is where the Ninja can employ false sounds because often times, it is a simple sound that will calm the sentry's suspicion. The Ninja could mimic the sound of a cricket to deter attention from his specific location. This is because crickets stop chirping when they are approached, and if the sentry hears this sound he may not investigate that particular area because he thinks if there was someone there, the cricket would cease his song. Or perhaps the Ninja would imitate the sound of a cat, making the sentry believe a feline was responsible for whatever noise occurred, and since the sentry does not fear cats, he may feel somewhat foolish for searching. If though this tactic is creative, it is very possible that the enemy will not fall for the ruse. In this instance, physical combat may be the only recourse. DOBUTSUJUTSU - THE ART OF USING ANIMALS Another tactic known as “Dobutsujutsu,” or the art of “Using animals.” This tactic makes use of live animals as a means of diversion. To remain invisible, the Ninja may release a small animal such as a dog, cat, rabbit or monkey into the area of operation. This technique teaches that, when the threat of being discovered is imminent, the Ninja can use these animals as a diversionary tactic. These animals often cause havoc with the enemies senses while the Ninja slips away. This tactic can also be employed with insects such as venomous hornets or bees. To apply this technique, the Ninja would place a hive of angry insects in a pouch, and when he detects the presence of enemy forces he shakes the bag to enrage the insects and then throws the open pouch in the direction of his enemy. By the time the bag lands, the insects are furious, attacking anyone in close proximity.

STEALTH It is often said that the Ninja is a supreme master of stealth, able to vanish in a puff of smoke or change into a wild animal form in order to facilitate an escape. In actuality it is the Ninja’s understanding of invisibility that gives them the advantage. Invisibility in reality is simply knowing how to fool the enemies senses in order to remain undetected, much like a magician misdirects in order to mystify and confuse. There are two natural senses that are the focus of study. The first is that of Sound. Noises attract attention, and if the mind fails to identify a sound, it becomes curious. This is where the Ninja employs the art of “Himitsu iri,” the ever-elusive method of “Silent movement.” This art serves as a foundation for all aspects of the Ninja lifestyle. Everything must be approached in a subtle manner if ones endeavors are to remain a secret. The Ninja’s first lessons in stealth are those pertaining to “Kage aruki,” or “Shadow steps.” These walking movements increase the warrior’s efficiency at adapting to specific situations while remaining stealthy. Different types of terrain, varied foliage, sloping rooftops, inner floors of structures, all of these variables are embraced so that silence can be maintained. KAGE ARUKIJUTSU - THE ART OF SILENT WALKING The Kage Aruki walking techniques were perfected by Ninja field agents during the course of their missions. It is the use of proper weight distribution, mental awareness and general feats of dexterity that enable an operative to carry out these acts of stealth. To move soundlessly requires the warrior to commit themselves to countless hours of practicing and perfecting their technique. Traversing every type of terrain imaginable so that when specific surfaces are encountered during field operations, they are fully prepared to surpass them in a silent fashion. However, these walking techniques alone do not magically endow one with the ability to move unheard. These steps are simply tools used to increase ones ability to move with more grace and elegance. In actuality, stealth becomes a skill the warrior attains without really being aware of it. It is a result of their unarmed, acrobatic and weaponry training. This happens because the warrior has attained a intimate knowledge of the body and how it works. Walking on all angled surfaces requires this process. HAYAGAKEJUTSU - RUNNING SKILLS Also included in Himitsu iri is the art of “Hayagakejutsu,” which is the method used to develop greater speed and stamina when running. These techniques require that the Ninja go through a set of rigorous training sessions that are designed to increase speed by applying different principles of body weight distribution. These running techniques combine stealth and speed. To initiate this technique, the Ninja assumes a low Hiryu posture with the upper body leaning deeply forward. As the warrior runs in this position, he is not only using the power of his legs, but also his upper body because it actually pulls the body forward into a faster run. The body must not bob up and down as the Ninja runs and the arms should not move at all. Instead, the arms should remain as motionless as possible so as not to attract unwanted attention. The legs are the only part of the body that alternate motion. HOFUKUJUTSU - CRAWLING SKILLS Another unique method of silent movement is the art of “Hofukujutsu,” in which the Ninja employs different methods of low movement to avoid detection. One such method is “Ryohebi no jutsu,” or the “Serpent crawl,” in which the Ninja walks on all fours with his stomach very low to the ground. The serpent crawl provides the Ninja with a very fast method of low movement when travelling beneath the enemy’s line of sight. One of the best crawling techniques is that of “Shinso toho no jutsu,” or the “Deep grass rabbit” technique. This tactic is used when the Ninja is moving in extreme darkness and wants to avoid making noise by tripping or bumping into anything. This technique is accomplished by walking on all fours while scanning softly in all directions with the hands and feet. Although this is a very slow process, it is also very effective. GIONJUTSU - FALSE SOUNDS There are instances when the Ninja may accidentally make a noise. When this occurs, the Ninja must not panic. Instead, he should learn to cover his mistake. This is accomplished through the use of a very ingenious art. “Gionjutsu,” the art of employing “False sounds” is extremely effective. In the application of this method, the Ninja creates noises that might deter attention from his presence. Therefore, if an enemy sentry was patrolling the land surrounding their lords castle and he heard a strange noise, he would most certainly investigate. This is where the Ninja can employ false sounds because often times, it is a simple sound that will calm the sentry's suspicion. The Ninja could mimic the sound of a cricket to deter attention from his specific location. This is because crickets stop chirping when they are approached, and if the sentry hears this sound he may not investigate that particular area because he thinks if there was someone there, the cricket would cease his song. Or perhaps the Ninja would imitate the sound of a cat, making the sentry believe a feline was responsible for whatever noise occurred, and since the sentry does not fear cats, he may feel somewhat foolish for searching. If though this tactic is creative, it is very possible that the enemy will not fall for the ruse. In this instance, physical combat may be the only recourse. DOBUTSUJUTSU - THE ART OF USING ANIMALS Another tactic known as “Dobutsujutsu,” or the art of “Using animals.” This tactic makes use of live animals as a means of diversion. To remain invisible, the Ninja may release a small animal such as a dog, cat, rabbit or monkey into the area of operation. This technique teaches that, when the threat of being discovered is imminent, the Ninja can use these animals as a diversionary tactic. These animals often cause havoc with the enemies senses while the Ninja slips away. This tactic can also be employed with insects such as venomous hornets or bees. To apply this technique, the Ninja would place a hive of angry insects in a pouch, and when he detects the presence of enemy forces he shakes the bag to enrage the insects and then throws the open pouch in the direction of his enemy. By the time the bag lands, the insects are furious, attacking anyone in close proximity.

CLIMBING Scaling castle walls and creating watch posts in the high limbs of trees is a Ninja specialty. Although simplified climbing skills are acquired by almost every person during their adventurous childhood, a Ninja’s ability to scale any structure takes a great deal of practice. Climbing is not just the act of ascending an object, it also involves your ability to feel comfortable once you’ve reached your destination. This is why balance in an integral part of climbing. It is important that once you have reached an elevated position that you are able to move about naturally and easily. TANUKI NOBORIJUTSU - CLIMBING LIKE A SQUIRREL To begin this method, the student leaps up and latches onto the base of a tree with all four of their limbs at the same time. From this point the bodies weight must be distributed properly as the student begins their upward ascent. This is done by releasing the hands and quickly re-attaching them a bit higher on the trunk. As the feet quickly walk or hop up a bit higher. This series of movements is continued until the desired height is attained. IMORI NOBORIJUTSU - CLIMBING LIKE A LIZARD This method of climbing is used when facing a singular flat surface such as a man-made wall or a natural rock surface. Either of these obstacles are extremely difficult to ascend and each of them requires a strong grip. The student must learn to scale the surface by taking advantage of any hand hold, no matter how small, to support their weight while they climb. This physical feat begins by surveying the obstacle to be scaled. The student crouches beside the wall. Only after they are certain that the area is clear of any enemies do they begin climbing. The student begins by extending their left arm upward to a handhold while keeping their body close to the wall. The right foot then rises to an appropriate balance position and the body shifts upward as the right hand attaches to a higher handhold. This process is continued until the desired elevation has been achieved. Although the explanation of this action makes it appear easy, its applications in reality a complex feat. UZURA NOBORIJUTSU - CLIMBING BETWEEN TWO OBJECTS This method of climbing is used when the student wedges their body between two walls. The student ascends by placing one foot on the surface of each wall. They extends their legs, which pushes them upward, then supports their weight with their hands while they recoil their feet beneath them. The action is then repeated until they reach their objective. Not only is this climbing method valuable between two buildings, it is also effective between trees, in hallways and stairwells, where the student can remain lodged and ready to drop on an unsuspecting victim. SHOTEN NOBORIJUTSU - CLIMBING TO THE HEAVENS This method of climbing is the most difficult. It requires that the student be able to properly control speed, weight distribution and timing simultaneously while climbing. In it’s beginning stages, the student must learn to run up objects that are on an incline. As their skill increases, the incline should become steeper and steeper until they are able to run up a flat vertical surface To apply the technique, the student begins twenty feet from the wall he is attempting to climb. They run toward the wall and directly up it by using their hands and feet to continue the momentum created by their run. In effect, the student actually runs up the wall. This method is effective on objects up to fifteen feet in height or when running up a wall and seizing some type of handhold to scale higher objects. SCALING WALLS To aid the Ninja in scaling walls they utilize a series of specially designed devices. The “Tobi kunai,” or “Scaling wedge,” was a piece of thick iron shaped roughly like a knife with a length of rope attached to it’s handle. The Ninja would force it’s pointed end into any natural cracks found along the surface of a stone wall. The Ninja would then use it’s protruding mass as a step to take them higher up onto a wall while at the same time, giving them enough support that they could attach a second tobi kunai higher on the wall. After the second scaling wedge was in place, the Ninja would use it to ascend higher. Once balanced on the second wedge, the Ninja would pull on the rope that was attached to the first tobi kunai to remove it from it’s position so it could be pulled up to serve as another step. The “Shinobi kumade,” or “Climbing pole,” was also quite effective in wall climbing. It’s design was simple. A long pole with a rake-like hook on one end. The Ninja would extend the pole up to the top of a wall and attach the rake to it’s edge. The Ninja would then position the pole on an outward angle away from the wall. From this point the Ninja ascended the pole with theirhands while at the same time using their feet to walk up the wall. Once at the top of the wall, the Ninja would release their grip on the pole and seize the wall’s edge with their hand. The shinobi kumade could then be discarded, left in place as an escape tool, or it could be used as a spear-like weapon during the remainder of the Ninja’s assignment. The “Tekagi” and “Ashiko,” or “Hand and foot claws” provided extra grip while climbing. This proved especially useful when scaling the outside structure of castles. Since these castles were usually surrounded by a moat, the moisture of the stagnant water covered the base of the castles walls with a fungus-like moss, which made it somewhat slippery to the bare hand. The claws however, could be wedged in the gaps between the rocks of the wall, providing ample support while climbing. The claws were also useful in climbing trees, using the sharp talons to penetrate the wooded surface. Hand and foot claws also provided the Ninja with effective weapons in close combat, improving their grappling skills immensely. The “Take bashigo,” or “Bamboo ladder” was used when whole groups of Ninja needed to ascend a wall quickly and quietly. The Last Ninja would then pull up the ladder so it could be placed down the other side of the wall so an equally quick descent could be executed. The ladder would then be concealed so it could be re-used during escape from the area of operation. CLIMBING TREES Although the concept of climbing trees sounds simple, it’s application is far different from a leisurely climb in a tree with easily accessible limbs. Climbing a small tree is a fairly easy feat, one simply reaches up to the closest limb and pulls themselves up into it’s branches. This is a simplistic view of tree climbing. As the trees become larger, and the lowest branches are well out of reach, tree climbing becomes more complex. This is where special tools can be used. It is a historical fact that Ninja often made temporary bases high up in trees. This was accomplished with a highly inventive horizontal ladder that actually created a solid surface high up in a tree’s lofty branches. The “Orimono bashigo,” or “Web ladder” was a series of ropes attached to a center ring. When these ropes were tied off in different directions, they formed a kind of “Web.” The Ninja would then run a separate length of rope around the perimeter of the web that slowly moved inward towards it’s center. The Ninja would then camouflage the ropes with leaves and branches to conceal it’s form. The “Nawa bashigo,” or “Rope ladder” proved extremely useful in ascending trees. Once attached to a high limb, it could be dropped down or pulled up very quickly. A rope ladder was often times rolled up and concealed in the branches of a tree, only to be unleashed by a hidden cord. These ladders would be used in various locations throughout a wooded area so the Ninja could take to the trees during his clandestine operations. A variety of other rope climbing devices could perform the same task as a Nawa bashigo. The “Kumo bashigo,” or “Cloud ladder” was a long single length of rope that was extended through a single hole in the center of eight inch wooden rungs. Knots were tied above and below each rung to hold them in place. The “Musubi bashigo,” or “Loop ladder,” was a single length of rope with loops tied on it about every eighteen inches. However, the hands and feet were not placed in the loops while climbing. Instead, the Ninja used the knots to secure a good grip while climbing. Once at the desired height, the Ninja would secure a foot in one of the loops to maintain their position with ease. One tool that was very useful to the Ninja was the “Kaginawa,” or “Rope and hook.” This tool served the Ninja as a utilitarian device to be used as a general climbing rope, a weapon and a survival tool. In essence, whatever the climbing need, the Ninja was prepared.

WARRIOR MYSTIC On their path to spiritual refinement, the Kurai Kotori Sohei (Warrior-Mystic) practices an art known as Gorin Kuji Myo Himitsu Shaku or the Secret Knowledge of Inner Strength. This art form makes use of indepth medative techniques that are focused on unleashing the dormant spiritual powers that dwell deep within every warrior. If the warrior can successfully tap into their inner power, they can accomplish superhuman feats. Feats such as heightening mental and physical strength, refining mental focus, directing spiritual energy, projecting thoughts and emotions and tapping into the realm of the shadow. As mysterious as this sounds, these powers exist within every human being in existence. They are not magical energies as much as they are personal, spiritual energies that, if focused, can bring about the creation of powerful skills that breach the realm of normal human abilities. The Meditative technique used in Gorin Kuji Myo Himitsu Shaku draws upon the energies of the body, speech, and mind of the warrior to attain the realization of their inner strength. The Body, Speech, and Mind together make up what is called the Three great secrets (Sanmitsu). The secrets of Body contain the Ketsu-in which are methods of finger weaving. Each of these hand positions symbolize a certain feat the warrior is trying to accomplish. Along with the entertwining of fingers there are also ritual implements such as the prayer bell. The secrets of Speech contain the Jumon which are the “True word” incantations. These vocal intonations follow a pattern of specific sounds that put the warrior in a communicative state with the energy that flows through the universe. The secrets of Mind contain the Kanso which invoke the strength ancient Deities through the use of written scrolls that specify the warrior’s intentions. This is known as KUFU (Concentrated reflection). From the very simple to the most complex, the Gorin Kuji Myo Himitsu Shaku ritual can be applied in a great number of combinations. The rituals can be applied by a solitary warrior, or done with many warriors to create a more powerful effect. SANMITSU - THE THREE AS ONE When the warrior weaves their fingers into one of the many hand configurations (Ketsu-in) and recites the “True word” incantations (Jumon) while concentrating on an ancient Deity (Kanso), they open the gateway to supreme universal knowledge. The overall application of this practice puts the warrior in touch with all the supernatural powers located at the center of their being, which is often referred to as “The light from within.” When these powers are properly focused, the mind is freed of obstructive barriers and the body is released from physical limitations. FUDO MYO-O - THE IMMOVABLE KING Japan’s mystics lived a life dedicated to peace. They guarded themselves and their followers from the perils of violence and temptation and were often regarded as the very embodiment of goodness. Yet, they knew that there was a flip-side to their virtuous nature, a darker side of existence that they could not oppose without sacrificing their peaceful ways. They used magical incantations to call upon entities known as the Myo-o to vanquish the evil of the world. The Myo-o were creatures who possessed great power and were dedicated to battling evil in it’s many incarnations. It is said that they had no true physical form, but when they were summoned by the mystic, they would manifest themselves as huge powerful humanoids armed with a variety of unique weapons. The Myo-o associated with the Kurai Kotori Clan is “Fudo Myo-o, the Unmoving Illuminating King.” Fudo Myo-o is the symbol of the inherent abilities often sought by the warrior, and Fudo is studied by the warrior during meditation in the hopes that these attributes will transfer over to them. Fudo Myo-o can be described as being vicious in appearance, with a skin color that emits a bluish-black radiance with an arc of red flame surrounding him. Although benevolent in nature, Fudo Myo-o wages an ongoing battle against all that is evil in existence, allowing nothing wicked to stand in his way. Internally, Fudo Myo-o’s wrathful qualities enter to terrify and subdue all egotistical obstructions within the warrior. To accomplish this task Fudo Myo-o is armed with two distinct weapons. In his upraised right hand he holds a double edged sword, the sword of secret wisdom, which he uses to cut through any delusions in the warrior’s mind, while instilling the importance of qualities such as attaining knowledge for greater intelligence. In his left hand Fudo Myo-o grips a coiled rope, which represents the ability to bind even the most uncontrollable passions in the warrior. The sword and rope together are used to enlighten the warrior to what things appear to be, and what they actually are. THE PURPOSE OF GORIN KUJI MYO HIMITSU SHAKU The warrior is destined to run into mental obstacles during their training. However, in most cases, these obstacles are created by one’s own sub-conscious. This can be seen when the warrior is about to attempt a complex maneuver, and just before it is set into action, something inside stops their body from executing the technique. Some call this occurrence fear, but in actuality it is the warrior’s sub-conscious telling them that what they are attempting does not seem possible. This can be a frustrating experience because the warrior wants to execute the technique, but the sub-conscious keeps shutting down their ability to move properly, which in turn causes a type of hesitation. This is where the warrior’s secret knowledge can be put into action. By utilizing the Gorin Kuji spells, the warrior is able to remove any and all obstacles from their sub-conscious mind that do not allow their intention to become a reality. This clearing of barriers from the deeper mind is imperative to the warrior’s success. By invoking the Gorin Kuji power, the warrior’s body, mind and spirit will begin to work in total unison. LEARNING THE NINE HANDSIGNS There are nine handsigns that the Warrior uses to attain personal power. Each one holds a specific meaning. They are normally only taught through “Okuden” or “Oral transfer method,” but I have placed them in this text as written records to be utilized as reference (Kuketsu). It should be noted that these signs do not endow the warrior with magical skills from outside forces, instead they unlimit the hidden abilities possessed within. You must seek to find something you already possess.

KURAI KOTORI NINJUTSU Ninjutsu is used as an alternative to direct combat. The Ninja is a unique breed of soldier who applies their craft from the shadows, relying on trickery over brute strength. A Ninja receives training in many different fields so as to prepare them to face every conceivable danger during the course of their lives. In effect, the Ninja is a “Jack of all trades” when it comes to training. Being taught to rely on their ingenuity, the Ninja’s methods alter to fit each situation as it occurs. This is what makes them so effective in combat. They are completely unpredictable. UNARMED FIGHTING SKILLS The Ninja’s fighting skills are taught in a series of Elemental responses involving Earth, Water, Fire, Wind and Celestial. Each of these elements are invaluable to the students arsenal. Each element helps to develop a certain aspect of the student’s ability to fight. From the earth the student learns to develop their might. From the water the student learns to develop their cunning. From the fire the student learns to develop their ferocity. From the wind the student learns to develop their dexterity. From Celestial the student learns to allow the four elements to unite with natural elegance. Being versatile in all five methods of fighting gives the student the ability to utilize whichever element is most appropriate to each given situation. Once the student determines the main attribute used by their opponent, they can decide which of the elements will best serve them. ACROBATICS The Nin-Karuwazashi (ninja-acrobat) must learn to use every bit of knowledge about the arts of gaining a more dexterous body. Only by gathering all the information possible and constantly reviewing it can the student increase their knowledge of the body and how to improve its strengths while minimizing its weaknesses. The reason the Kurai Kotori warrior strives for the ability to maneuver their body on such an extreme level is because of their desire to attain a type of exoteric (physical) enlightenment. If the student can attain such excellence, they would have very few limitations to hinder them while traveling the path to esoteric (spiritual) enlightenment. Acrobatic techniques give the Ninja the ability to effectively respond when knocked off balance, the ability to attack with exotic maneuvers and the ability to move more fluidly in ground fighting situations. Acrobatic techniques include; Ukemiwaza (breakfall techniques), Kaitenwaza (rolling techniques), Tobiwaza (leaping techniques), Tetobidasuwaza (handspring techniques), Kuki kaitenwaza (air roll techniques), Hakariwaza (balance techniques) and Suwariwaza (ground fighting. WEAPONRY SKILLS Weaponry training is of vast importance to the Ninja. This is because of the fact that a great deal of the Kurai Kotori system is devoted to researching all aspects of weapon technique and practical application. The student seeks this indepth knowledge in order to maintain the legacy left to them by their ancient forerunners. Feudal Ninja were said to be proficient in every weapon that was ever made available to them. Whether this is a fact or not is better left to historians. The Kurai Kotori warrior however, will strive to carry on this legacy with a resolute spirit, bringing honor to the ghosts of the past. Beyond their combative applications, the practice of weaponry enhances the student on many levels. First and foremost it instills personal growth in the warrior arts. Secondly, weaponry skills endow the student with a deeper awareness of their kinetic abilities. Lastly, since weaponry skills are complex, they require a deep sense of patience and perseverance, which in turn leads to greater benevolence. The Kurai Kotori Nin-Buki (weapon skills) are very indepth. Only by learning the art of the sword along with the nine primary weaponry systems (shurikenjutsu, bojutsu, chotojutsu, kusarijutsu, kamajutsu, sojutsu, torinawajutsu, hankyujutsu, fukidakejutsu) and the five auxiliary weaponry systems (ketsugo-buki, kakushi-buki, semmon-buki, mitsu-buki, teppo-buki) can the student be viewed as being complete. All of this knowledge, when properly deciphered, manifests within the student, giving them the ability to turn anything at hand into a lethal instrument. This is the destiny of the Kurai Kotori weapon master.