Nihilium est verus- Panton est licitus.

Codex Uni Verus Via

 Introduction

The combat doctrines covered in this codex are drawn from a combination of martial arts,
for maximum effectiveness. When used properly, they are a powerful tool. When used
incorrectly, they could harm you more than the person you are attacking.

Contents
ONE ................................................................................................................................ 3
The Sword .................................................................................................................... 3
Drawing .................................................................................................................... 4
The Grip .................................................................................................................... 4
The Cut ..................................................................................................................... 4
The Block .................................................................................................................. 5
Re-sheath................................................................................................................... 5
The Dagger ................................................................................................................... 5
The Grip .................................................................................................................... 6
The Draw and Attack ................................................................................................ 6
The Resheath ............................................................................................................. 6
The Hidden Blade ......................................................................................................... 8
TWO ............................................................................................................................. 10
The Order ................................................................................................................... 10
History and Advent ................................................................................................. 10
THREE ........................................................................................................................... 11
Way of the Warrior ..................................................................................................... 11
Earth........................................................................................................................ 12
Fire .......................................................................................................................... 12
Air ........................................................................................................................... 12
Water ...................................................................................................................... 13
The Theory of Power.................................................................................................. 13
 ONE

The Sword

The sword is placed on my right side during bowing to openly show NO hostility to the
moment, if it was placed on my left side it would show that I intended to use the sword
in a hostile fashion after unsheathing it (i.e. times of impending battle or before a duel).
This is because I would have to hold the scabbard in my left hand to unsheathe with my
right in times of need. Also if passing a sheathed blade or wooden training sword to a
fellow practitioner I pass it with my right hand to his/her right hand, always with a gap of
a hands width below the mouth of the scabbard for the receiver to grab it with.
As if you hold it too far up the scabbard when the other person goes to grab it they are
forced to grab the swords handle, if the scabbard is lose it will fall to the ground injuring
your fellow practitioners toe or foot, possibly breaking the scabbard, and making a loud
noise.
The reason we practice this pass-over technique with wooden training sword as well, is
that we use a wooden training sword as pretence for using a live-blade so must treat it
with the same respect.
After rising from the bow to begin our class, we pick the sword up with our right hand as
such, with our thumb over the hilt-guard. This is for the obvious reason that we only
want the blade to come out when we actually want it to come out and some swords do
sit loosely in their scabbards after they have been drawn in and out too many times. The
left hand then lips the sword belt over a little for the sword and scabbard to then be
inserted into your respective belt. When deciding to use a katana one should be of empty
mind, it will not do your techniques any good if you are highly stressed, angry, worrying
about something, or thinking about anything that stops you from being relaxed and calm
in the moment. You have a potential killing and maiming instrument in your hand, and
must have the respect of a calm mind to instrument it correctively and precisely. If your
mind is not in the correct frame, you should put the sword down and go and deal with
your thoughts at hand before proceeding further. When you feel it is time to proceed, I
am taught to position my sheathed sword on my left-side of my belt facing parallel to the
front position of your stance. This method of positioning your sword on your left facing
front was also used by the Roman army, as marching in Phalanx formation means one
has to take care of who is around you when drawing any blade. After all, it is counter-
productive to kill or maim your own troops by accident. This method in positioning also
makes your swords length harder to see on your person than the classic sword carrying
samurai position.
Drawing
When ready to draw the blade from its scabbard, your left thumb should already be
securing the blade (as explained earlier) in place, bring your right hand up to the swords
handle and grip it securely. Slowly release your thumb to be now holding the mouth of
your scabbard with your left hand rather securely, whilst drawing the blade from
scabbard in an upwards motion. When the tip of the blade has cleared the scabbard,
bring the sword to a 45 degree angle in front of your body whilst releasing your left hand
from the scabbard to now grip the end of the swords handle. The swords handle should
have a slight tilt towards your left hip in case you have to draw it back quickly, with the
tip of the blade dead centre in front of you. At the same time as all this, moving your
right foot forward about one foot ahead of your left foot. Without getting to technical,
this stance you have now achieved is a basic stance that most movements you will make
with your sword, defensive and offensive, start from.
The Grip
As I have stated earlier, being relaxed is where it all stems from. You do not grip a
Japanese sword like you are about to squeeze the living s**t out of it, or as if you are
ringing someones neck. If your grip looks similar to the first two photos below, you need
to relax. Whilst you may grip an axe like this, you need a lot of swing to swing an axe
properly. If you hold the sword correctly, there never need be fear that it will slip out of
your hand or that you should need excessive force in order to 'cut it harder?'. For a
correct grip, your arms should be relaxed but your grip firm and secure. The grip for a
sword is like that of a tennis racquet, a golf club, or a cricket bat. So ask your local sports
teacher, golf-pro, or your Dad for any tips on structuring your grip if one is handy to you.
The grip goes tightest from your little finger up to lightly resting in your forefinger and
thumb.
Your right hand at top should be a little less than an inch from the sword guard (tsuba),
with your left hand at the rear of the swords handle and your left little finger wrapped
tightly around the very end of the handle, as shown below. From your current position,
you could proceed with a thrust or to adjust into Jodan, or maybe Ahso.
The Cut
Stepping forward with your left foot about one foot ahead of your right, for Jodan you
raise your sword above your head.
The blade over your head is not parallel to your stance but with the tip on a slight angle
towards your right side, as your cut is aiming to the left-side bottom. Not a straight down
vertical cut.
So as the katana is raised over your head it looks like it flows out of your left arm, as a
sort of elongated extension. Your elbows must be tucked in to not look like chicken
wings.
You should be looking through your forearms at your opponent. As a guide, if you look
up a bit you should just be able to see your left fist almost touching your forehead. To get
to the position known as Ahso, as you step forward with your left foot raise the sword
past your shoulder to the right side of your head.
Now you are ready to cut. We cut away from our body with NO wind up whilst sword
is in mid air. Think of it as cutting a very, very large tomato, we cut away from us, then
in a downwards fashion, and then at the end of the cut bring it back into yourself. If this
seems confusing, practice with a large kitchen knife cutting a tomato on a chopping board.
Away, downwards, then back-in in a semi-sawing fashion. Theoretically, the tip of the
blade should not fall any lower than the swords handle.
As you cut step forward with your right foot. This step is probably the most important
step as it ensures that you dont cut your kneecap off! If you are cutting from your right
shoulder you will step forward with your right foot, cutting across yourself ending down
on your bottom left side, and vice-versa.
Constantly your opponent will be looking at your technique to find flaws of which
he/she will then use to attack you with. The blade is always the teacher. A good
swordsman waits for his opponents pre-emption of movement to see how to counteract
it. Not always, but more than often, he who strikes out first, loses; simply because they
give their movements away by acting first. There is never any rush where swords of any
kind are involved. Patience will always triumph.
The Block
When another weapon is being swung towards you, the preferable alternative is to
dodge the incoming blow. However, this is sometimes not possible. Your main priority
when blocking is to protect your head, and torso. Other wounds will heal with little long
term effect. You must parry the blow with the flat of the blade, so as to preserve the edge.
You block high, in which case you take up the position with the blade above your head,
almost parallel to the ground. The swords tip should be marginally lower than the rest of
the blade. You can also block middle, in which case you push the opponents blade away
from you, raising it up, or pushing it down.
Re-sheath
After the cut is finished, unless another cut is eminent, the blade should be re-sheathed to
stop any accidents and ready the sword for the next draw. A loose blade is just asking for
trouble and a quick draw is best achieved from the scabbard, so putting the blade away is
the natural recourse. Bring your left hand up again to hold the mouth of the scabbard,
while turning the sword on a horizontal angle with the right hand and placing it above
the scabbard ready for re-entry to the scabbard.
Slowly, at first, wipe the blade down your left hand directing it with your left thumb
and lightly with your left forefinger until you reach the tip of the blade. Then again with
the two fingers mentioned on your left hand, gently direct it in and down your scabbard.
Obviously the more times you practice this, the more confident you get. As you are re-
sheathing your blade, place your left hand back to the mouth of the scabbard. The sword
is brought down the scabbard at an about 45 degree angle. With the sharp edge of the
blade slightly angled away from you.

The Dagger
A dagger is a short bladed weapon, often used for thrusting. Easily concealed, it can be
quickly drawn and used.
The Grip
As with the sword, being relaxed is important with the dagger. All fingers should be
exerting the same amount of pressure on the hilt, with your hand approximately a
centimetre below the crossguard (or where it would be if your dagger doesnt have one).
You can hold a dagger either as you would a sword, with you forefinger closest to the
blade, or inverted, with your little finger closest to the blade. Either is a sound technique.
The inverted way makes an unsheathed dagger easier to conceal.
The Draw and Attack
With a dagger, the draw and attack should be either fluidly one after the other, or
simultaneous.
For a stab, you should always aim for centre mass. Draw the blade in your desired grip,
and thrust immediately. Twist the blade, and withdraw, sheathing immediately. A dagger
is not the best weapon for self defence, and a sword should be used if possible.
For a slice, aim for the throat or any other areas of pulse. The draw, slice and resheath
should be completely one move.
The Resheath
The dagger is sheathed in the same way as the sword, only on a smaller scale. Sheath
quickly.
 The Hidden Blade

This weapon cannot be bought, and must be made by your own hand.
The basic design is right, and is open to your own interpretation.
Mostly used for stealth assassinations, you make up your own style
with this. Aim for vital organs, the eyes and throat.
 TWO

The Order

We work in the dark, to serve the light. We are Assassins. Assassins believe in one creed
which governs our entire lives. It consists of three tenets-

Stay your blade from the flesh of innocents. The goal of the assassins is
to ensure peace in all things. The Assassins believe that political
assassinations and the death of the corrupt will bring peace and a true
sense of security to the common people. Slaying innocents and civilian
bystanders who do not need to die goes a long way towards spreading
strife and discord in addition to ruining the name of the Assassin Order
itself.
Be unseen. The Assassins aim is to get close to their target stealthily,
usually in public, to perform awe-inspiring assassinations. The greatest
illusion from an assassination is, an Assassin seemingly materializes from
nowhere, kills a corrupt public figure, and vanishes into the depth of
the crowd or environment. If an Assassin is spotted stalking their target,
the supernatural effect is diluted, simply making it more difficult for the
Assassin to reach his target.
The actions of one must never bring harm to all. If an Assassin fails, is
captured, or is being chased, he must never commit an action or say
anything that can be tied back to the Brotherhood

If you are found to break any of these tenets, you will either be stripped of your rank and
weapons, or removed from the order altogether. Another important factor is that
vengeance goes against word of the creed, and prevents either victim or assassin from
finding the peace that all assassinations through the order wish to affect.

History and Advent

Unable to mount a conventional military army, the Nizriyya developed a form of
asymmetric warfare transforming the act of political assassination into a system of survival
and defence against their foes. They trained highly capable sleeper commandos (trained
in languages, science, trade, and so on) known as Fedayeen, who would covertly
infiltrate enemy positions and remain undercover. If Nizari civilians were facing pogroms
or their forts faced imminent attack, the Fedayeen were activated to prevent an attack.
Map of the crusader states, showing the area controlled by the Assassins around Masyaf,
slightly above the centre, in white .Fedayeen used their well-known skills for political
goals without necessarily killing; for example, a victim, usually high-placed, might one
morning find a Hashshashin dagger lying on his pillow upon awakening. This was a plain
hint to the targeted individual that he was not safe anywhere, that maybe even his inner
group of servants had been infiltrated by the assassins, and that whatever course of action
had brought him into conflict with the Hashshashins would have to be stopped if he
wanted to live.
Within Persia they employed their tactics directly against the Seljuk Turks, who had been
persecuting Nizari people. They were meticulous in killing the targeted individual, seeking
to do so without any additional casualties and loss of innocent life, although they were
careful to cultivate their terrifying reputation by slaying their victims in public. Typically,
they approached using a disguise, or were already sleeper agents in an entourage.
Preferring a small hidden blade or dagger, they rejected poison, bows and other weapons
that may have allowed the attacker to escape and live.
Within the Levant it is believed that Saladin, incensed by several almost-successful
Hashshashin attempts on his life, besieged their chief Syrian stronghold of Masyaf during
his reconquest of Outremer in 1176. He later lifted the siege after parley, and thereafter
attempted to maintain good relations with the sect. The sect's own claims tell of an
unsourced account in which assassin Rashid ad-Din Sinan sneaked into Saladin's tent in the
heart of his camp, and left a poisoned cake and a note on Saladin's chest as he slept
saying "You are in our grip" and then sneaked back out of the camp unharmed. Another
account tells of a letter sent to Saladin's maternal uncle, vowing death to the entire royal
line; perhaps no idle threat. Whatever the truth of these accounts, Saladin's uncle clearly
heeded their warning, and desisted.
The Hashshashin's were also among the first to use mirror reflective signals during the day,
in order to communicate with nearby strongholds especially those near Alamut. At night
however they used flame signals.
The Hashshashin often took contracts from outsiders. Richard the Lionheart was among
those suspected of commissioning them to assassinate Conrad de Montferrat. In most
cases the Hashshashin were aimed at retaining the balance of their enemies.
Notable victims include the notable Abbasid vizier Nizam al-Mulk (1092), the Fatimid
vizier al-Afdal Shahanshah (1122) (responsible for imprisoning Nizar), Ibn al-Khashshab of
Aleppo (1125), al-Bursuqi of Mosul (1126), Raymond II of Tripoli (1152), Conrad de
Montferrat (1192), and Prince Edward (later Edward I of England) was wounded by a
poisoned Hashshashin dagger in 1271.

THREE

Way of the Warrior

Each of the four elements represents a style/philosophy of approaching combat. Few

people or armies are simply an expression of one pure element, as nothing in life is that
simple. However, understanding yourself in terms of these elements is useful, as fighting
in a way that reflects your way of thinking makes the process generally more successful.
Earth
An Earth fighter wins by outlasting its opponent, and is characterised by its resilience and
staying power. Heavily defensive, this way of fighting relies on getting your opponent
into a rhythm that is easily predicted, and then you counter with a single, heavy, fatal
stroke.
Standard Weapons
The Earth method works best with armoured forearms (to block some attacks
with), and a heavy, large weapon, to deliver the killing blow: Weapons such as maces,
warhammers, flails, halberds, two handed bastard swords, and sometimes even spears suit
Earth.
Stance
A solid stance is required to take the brunt of the opponents assault. Feet should
be 6 inches or so wider than the shoulders, with the stronger foot forward. Knees should
be bent. Your weight should be distributed 60% on your front foot, and 40% on the
back foot.
Blocks
The Earth style relies heavily on blocks. They should be executed with maximum
force, so as to knock the opponents weapon away, opening an avenue for your counter.
Counter
This should be executed with maximum force again. Aim for vital areas of the
body, i.e. head, neck, ribcage.

Fire
An incredibly aggressive style, this style relies on lightning fast slices, stabs and cuts.
Centred on overwhelming your opponents, this is the antithesis of the Earth style.
Standard Weapons
A fast weapon is required here, but one capable of stabbing as well. Twin short
swords or daggers work best here, as they keep your attack ratio high.
Stance
Fire stance is generally 1.5 shoulder widths long, and one shoulder width wide.
You should always be aiming to attack, thus always pointing directly towards your
opponent, moving forward as you do. Your weight should be distributed 50/50.
Blocks
If this style is used correctly, you shouldnt need to block. Your opponent should
be dead before he can attack. However, if blocking is entirely necessary, a simple parry to
get their weapon out of the way should be used.
Attack/Counter
Lightning fast stabs, slices, and cuts aiming for vital areas of the body. This is easily
executed with two blades.

Air
An air fighter wants to out manoeuvre its opponent, and is characterised by high mobility.
Good Air fighters are very fast, often at the expense of defence.
Standard Weapons
Another fast weapon is required here, but the stabbing ability is unneeded. A
single slender blade, falchion or rapier would suffice.
Stance
The stance section here is unneeded, as you should be constantly moving. Your
focus should always be directed at your opponent.
Blocks
If your opponent manages to direct a blow in your direction, your primary option
is to dodge it and strike. If that is not an option, a simply parry will suffice.

Attack/Counter
Fast slices and cuts to the head and neck are the staple of this style. Stabs are
slower and thus should not be used.

Water
Unlike the other elements, Water fights reactively, responding to the plan of the enemy.
Whereas the other elements try to dominate a particular style, and 'inflict' their plan upon
the enemy, Water has no plan other than to defeat the enemy's plan.
Standard Weapons
Anything you feel comfortable with
Stance
Anything that will allow you to remove your opponents advantages
Blocks
This entirely depends on how your opponent fights
Attack/Counter
Anything that gets around your opponents guard

The Theory of Power

Reaction Force
According to Newtons Law, every force has an equal and opposite force. For example, if
you push the end of a see-saw down with a force of one ton, it will return an upward
force of the same size. The same is true when fighting. If an opponent is charging towards
you at a high speed, by the slightest blow to his head, the force he receives will be that of
his own charge, plus your blow. Another reaction force is the bodys own. A punch with
the right fist is augmented by drawing the left fist back to the hip.

Mass
Mathematically, the maximum kinetic energy is achieved by combining body weight and
speed. To get the majority of your body weight behind a blow, you must drop into it at
the last moment, either by bending your knees at the point of impact, or rising on your
toes before the blow lands, then dropping as it impacts.
Speed
Another factor in gaining maximum kinetic energy is speed. Speed is more important than
body weight in gaining the most force, as Force = (Mass X Velocity2)/2.

Overall, to gain maximum impact force, Reaction force, speed and mass must be used in
all movements.