#chinese kenpo

[dragon-of-europe]

Cute Kung Fu girl from China, practicing the art of Taijiquan. 🇨🇳🐉🥋

[dragon-of-europe]

My type of girl 😎

Nunchaku precision by @楚儿霸王🔥

[ganzl]

Martial Arts Geometry!

My initial thoughts on the martial arts, the stuff that led me through to matrixing was all geometric. For instance, way back in Kenpo I realized the body has two halves. A line right down the center, with each side approximating the other. Easy peasy. This led me to one of my first questions. Why didn’t the techniques I was learning work on both sides of the body. I was doing…

[sokeanshu]

FIGHTING TECHNIQUES 🥊 How To Use BEGINNER KEMPO FOOTWORK in a FIGHT

[ronnansink-blog]

Kobayashi Naoki's fate led him to Kenichi Sawai, a legendary master of Taiki Shisei Kenpo, Taikiken.

For decades, the rhythmic shuffle of bare feet across a polished wooden dojo floor has signaled the heartbeat of a rare and quietly guarded martial tradition. At first glance, the unassuming exterior of Bidokan—the dojo overseen by Instructor Kobayashi Naoki—might pass unnoticed among Tokyo’s bustling streets. But inside those walls dwells a living heritage, shaped by two legendary masters and nurtured through the unwavering devotion of their heir, Kobayashi himself. Now, through the combined legacy of Sakurakoju Kazutaka’s orthodox Chinese boxing and Kenichi Sawai’s Taiki Shisei Kenpo, or Taiki Ken, this sanctuary has evolved into a place where the old ways remain very much alive, and possibly more relevant than ever in an era of instant gratification.

A Secret Art Unfolds

Few martial arts enthusiasts outside of Japan realize the depth of these intertwined lineages. The late Sakurakoju Kazutaka carried the torch of Chinese orthodox boxing, preserving the heritage of forms and techniques often practiced behind closed doors. Meanwhile, Kenichi Sawai became the only foreigner ever permitted to study under Wang Xiangzhai, the renowned founder of Dai Cheng Quan—more commonly referred to as Yiquan. After World War II, Sawai returned to Japan, forging Taiki Shisei Kenpo, a system whose name comes from the principle that “sincerity reaches the heavens.” Through rigorous training methods such as standing meditation (ritsuzen) and crawling exercises (hai), Taiki Ken quickly earned a reputation for its practicality and explosiveness.

For years, curious onlookers heard rumors of intense training sessions deep in the tranquil forest around Meiji Shrine, where Sawai’s handful of dedicated students braved dawn workouts in near-silence. There, each participant tested their resolve and refined their minds until the body and spirit worked in seamless harmony. Tales emerged of how a single subtle shift in stance or direction could redirect an opponent’s force, leaving them utterly disoriented. It didn’t take long for word to spread: Taiki Ken was one of the strongest, most practical martial arts around, seamlessly fusing Chinese internal methods with Japanese warrior ethos.

Enter Kobayashi Naoki

Born on March 1, 1954, Kobayashi Naoki began his martial arts journey at sixteen years old, joining Sakurakoju Kazutaka’s Dai Nippon Koubukai to immerse himself in authentic Chinese martial lineage. Under Kazutaka’s watchful eye, Kobayashi honed his understanding of body mechanics, breath control, and proper stance. Following the passing of his beloved teacher, fate led him to Kenichi Sawai, the legendary practitioner whose mastery of Taiki Shisei Kenpo was unparalleled. At twenty-eight, Kobayashi began rigorous training under Sawai’s guidance in Meiji Shrine’s forest—a veritable crucible of discipline. Sawai’s instruction was as relentless as it was profound. For ten years, Kobayashi dedicated himself to mastering the principles of Taiki Ken, ensuring that every posture, pivot, and breath had purpose.

When Sawai passed on, Kobayashi felt a renewed sense of responsibility. He had inherited not one but two invaluable lineages: the orthodox Chinese boxing from Kazutaka and Taiki Ken from Sawai. He founded the Bidokan in 1994 as a repository for both traditions, setting a personal mission to teach future generations while maintaining the purity of each discipline. In 2008, the dojo was officially renamed Bidokan to underscore its commitment to the Taiki Ken tradition, but in truth, Bidokan transcends labels—it is a living archive of timeless skills.

Legends and the Rido-kan Connection

Outside of the Bidokan realm, the martial arts community has long whispered about another close-knit circle: the Rido Clan and its cryptic head, Kobayashi Naoki (the same man, though many mistakenly believed them to be separate people), who some said kept the “strongest martial arts” under lock and key. Insiders would mention names like Kazutaka Sakurakoji (another common spelling is Sakurakoju) and Kenichi Sawai almost in the same breath, placing them at the pinnacle of Japan’s martial tapestry. Stories circulated of samurai from the Showa era, men such as Kenichi Sawai who, upon returning to Japan, had sculpted their unique forms of kenpo into unstoppable disciplines.

A deeply guarded system known as Chakryu Shinden Chinese Seiha Kenpo Taiki Shisei had been referenced in hushed tones. It revolved around the concept of Kosaho Riai—a principle of standing in a natural posture and using one’s structure as both a shield and sword. Attacks seemed to bounce off or veer away from the unassuming stance, as though the practitioner had become a rooted tree in a gale. The Rido-kan, as some called it, mirrored the essence of the Bidokan: a dedication to unity of spirit, body, and technique, with secrecy at its core.

Building the Bridge Between Two Worlds

In reality, the divide between the Rido-kan and the Bidokan amounts to little more than different naming conventions. Both spaces served—and still serve—as vessels for Kobayashi’s martial knowledge, which has blossomed into a remarkable synergy of orthodox Chinese boxing and Taiki Shisei Kenpo. As with any storied tradition, once students prove their commitment to the fundamentals—stances, breath control, and mental focus—they move on to advanced concepts like the “fly” form, the practice of intercepting or redirecting an opponent’s attack in an almost weightless fashion.

Kobayashi frequently references Kenichi Sawai’s legendary demonstrations, where Sawai’s head (which, according to lore, was “harder than a wooden sword”) could be used as an unconventional yet devastating weapon. At its core, Taiki Ken emphasizes not letting the opponent retain structural integrity: “If you don’t break it, it will come,” says Kobayashi, underscoring that martial combat is a constant dance of giving and taking away stability. If you leave your opponent’s stance, spirit, or line of attack unbroken, they will attack again. It’s a simple but powerful axiom that resonates through all advanced martial arts.

Training Under the Canopy of Tradition

Strolling into Bidokan on a typical training day, one might see a circle of students standing motionless, eyes half-closed in ritsuzen, or standing meditation. The instructor quietly paces, adjusting postures with a nudge here or a tap there, guiding each disciple to awaken an internal awareness that words alone cannot convey. Later, these same students might practice crawling drills (hai), a physically demanding method that tests their core strength, mobility, and determination. Then come forms that combine footwork from Chinese boxing with the explosive directness of Taiki Ken. Each drill culminates in two-person work, pitting practitioners against each other in a controlled environment that still manages to feel dangerously alive.

Far from being esoteric, these methods form the bedrock of practical combat. The idea is to develop balance and rootedness so profound that even a sudden jolt from an opponent seems to dissolve at the point of impact. In advanced practice sessions, one might witness a student launch a powerful strike at Kobayashi, only for him to redirect or absorb the force effortlessly, sending the would-be attacker stumbling. No fancy spin kicks, no telegraphed movements—just raw, refined power guided by decades of mastery.

Sincerity Reaches the Heavens

If there’s a guiding philosophy that brings all these threads together, it’s found in the name Taiki Shisei Kenpo itself: sincerity reaches the heavens. That sincerity underscores every facet of training—sincerity in one’s stance, breath, gaze, and intention. It’s about being honest in your limitations and then systematically dismantling them, forging yourself into a vessel worthy of carrying centuries of martial heritage.

Kobayashi embodied this principle from the moment he entered Sakurakoju Kazutaka’s fold at sixteen, maintaining it through his apprenticeship with Kenichi Sawai, and onward as the overseer of Bidokan. In many ways, the sincerity principle also resonates in the teaching style. There is no room for theatrics or illusions. If a stance is flawed, the instructor corrects it. If a student’s mindset is clouded, the training reveals it. The forest training at Meiji Shrine that Kenichi Sawai championed was not just about physical conditioning; it was a spiritual journey, a testing ground for sincerity in the face of grueling adversity.

A Legacy Continues

Today, Bidokan stands as a beacon for those seeking something beyond the commercial flash of modern competitive martial arts. While mainstream dojos often chase spectacle—focusing on high-flying kicks or bombastic marketing—Kobayashi has made it his life’s work to honor the memory of the two masters who shaped him. By maintaining strict standards and never compromising on authenticity, he ensures their teachings endure. Students at Bidokan learn more than how to strike or throw: they learn how to stand, breathe, and ultimately, how to live with purpose and fortitude.

In merging Sakurakoju Kazutaka’s Chinese orthodox boxing with Kenichi Sawai’s Taiki Shisei Kenpo, Kobayashi Naoki has forged a truly unique path—one that straddles centuries-old traditions and modern practicality. From the echoing footsteps in the dojo halls to the morning dew collecting on the grass at Meiji Shrine, each breath in training serves as a reminder that sincerity, discipline, and the relentless pursuit of skill remain the bedrock of true martial mastery.

[misterbaritone]

Ngl, I wanted to say I was surprised they brought back that Kevin Rian fella back to Garou because I presumed him unpopular but then I realized I don’t actually know the popularity of most Garou characters. Like, I know the devs certainly have their favorites(Gato, B. jennet, Tizoc, Rock) but like I don’t know what the fans think about these characters.

And I know folks love harping on about how great Garou is but, like with 3rd Strike, the vast majority of people who do are fraudulent niggas parroting what they heard some YouTuber say. Like if asked most Garou “fans” their opinions on the cast they couldn’t tell ya who any of em were or what they were all about. However, I don’t actually blame em that much because outside of the 4 I mentioned(and my man Khushnood Butt) Garou’s cast is actually pretty forgettable.

[ozzgin]

I love the idea of Papa Pickle and his mate with a little one! What if the little cave child wanted to spar with the fighters and tries instigating fights with each of them?

Their reactions?

I know you requested headcanons of the fighters meeting the baby first, I figured it’d be a nice intro to this one. I recall writing something birth related, but upon further inspection it was mostly focused on the reader and not the baby (twins). This will be written for an infant as singularity, but the twin AU partisans can double that.

Baki Headcanons: Meeting Pickle & Prehistoric! Reader’s baby; sparring with the Prehistoric! Child

Featuring the fighters and their reaction to the newborn, as well as a time skip of the now grown Jurassic child showing interest in training.

You’d think Baki is the most excited given his attachment to the Jurassic mom and vice versa. And to his credit, he is dutifully standing there with a wide, nervous grin, ready to welcome the little creature. He’s the first one after the parents to be allowed to hold the infant, although he’s a trembling mess and requires a nurse encircling him with her arms, constantly reassuring him. “You can’t just drop a newborn, Baki. It doesn’t work like that. You’ve…you’ve carried heavier. I promise.”

Against everyone’s expectations, Katsumi is the one that seems to mesh right in with the news. He comes from a healthy, loving family and the event is nothing new nor surprising to him. He doesn’t need any advice and casually scoops the infant up with his arm, using his large hand as a head rest. Pickle is surprised by this confidence and cautiously approaches him, observing his technique and taking mental notes. Baki chuckles at the unanticipated sight.

Retsu is the next in line to be introduced. After listening to a short briefing on the proper and safe ways to hold a baby, he breathes in and solemnly receives the child. He allows it to rest against his broad chest and supports the back with both hands. A laugh escapes your mouth as you observe the extremely concentrated frown of the Kenpo master. He’s a little embarrassed and a blush spreads lightly to his ears. “O-one cannot be too cautious when handling such fragile beings. I do not see anything worth of amusement.”

Jack prefers to keep his distance and politely refuses the invitation to also hold the infant. He is grateful to be part of it, but he doesn’t trust himself around delicate things. Perhaps when the child grows sturdier he will approach it with more confidence. Until then he doesn’t mind watching passively. There are other ways to contribute.

The way I see it, growing up among modern humans kind of guarantees that the child will be able to speak proper language. And in the few years that have passed I’m hoping that reader and Pickle have also picked up some basic communication skills. So there might even be some rudimentary dialogue coming from the parents! I wonder how Pickle’s voice would sound like.

The kid’s favorite sparring partner is most likely Katsumi. Within his family Katsumi has always been the younger sibling, but in the Dojo he is the authority figure most people look up to. From the moment your child showed the intent to train, the Karate prodigy promptly responded with tips and playful fights. He’s been teaching for years and knows how to assess the capacities of his opponent without using too much force or harming them. Compared to the rest of the fighters he has the most experience in dealing with novices and amateurs and acts accordingly.

On the opposite end of martial arts teaching is Retsu. He doesn’t like to joke around and believes his Chinese Kenpo isn’t some playtime activity for children. He has no problem explaining certain techniques to your kid, but it will be done by the book. Retsu is a great help if you need a break for the day. Kid has too much energy? It will be jogged and worked until late evening just to learn a fancy kick. No other way around it. The youngster will be returned completely passed out from exhaustion, but with a proud, satisfied smile plastered on its face.

Baki enjoys the idea of having a younger sibling, although he can be clumsy when it comes to sparring. If he’s too enthusiastic he might overdo his hits and next thing he knows, the child is on the grass crying and wailing. He scrambles to tend to the superficial wounds and frantically attempts to silence the screams. He doesn’t want to explain the ordeal to a dangerously powerful mom. Outside these small accidents, Baki is also one of the most preferred opponents.

The child is initially very cautious around Jack, but it doesn’t take too long to warm up to the idea of sparring with him. Jack has a lot of patience and most of the time just acts as a punching bag. If the youngster wants to try out a new move or practice some technique he’s seen somewhere, Jack will gladly receive the little blows and offer advice or encouragements. Sometimes after training they will hang out together doing small things like feeding the koi at the Tokugawa estate. “You’ve been training an awful lot lately. Any reason in particular?” Jack questions the little human, curious about the change. “I wanna hurry up and be strong already. Like mom!” the child looks up, beaming. Jack laughs at the last statement. “You’ve picked one hell of a goal. Good luck with that!”

[swordoftheberserkgutsrage]

ten thousand years of chinese kenpo

[maochira]

Can you write for kaiou retsu with a child who wants to follow the same path as him in martial arts? The child would be about elementary school age!

Sure!! I've never written for Retsu so I'm trying my best here ahsjdas (also I haven't written in a while so I'm starting to catch up on requests now!!! This one took me a while to get to)

Tags: gn!child!reader, dad!Retsu, mother isn't really mentioned but she's there

-Retsu always hoped you would want to go the same or a similar martial arts path as him, but he never wants you to feel as if he forces it on you

-he started introducing you to different types of martial arts when you were about four years old, because he wanted you to choose which one you liked the most

-And even if you would have ended up not being interested in any of them, he would have been fine with it because he wants you to be happy with your own choices

-at some point, you started getting more and more interested in Chinese Kenpo and asked your father to teach you, which he happily did

-around the time you started elementary school you would go around and tell anyone who would listen how you will become just like your father when you grow up

-at first, everyone thought you were only going through a phase and that you'd jump into another interest soon

-even though Retsu knew it might be just a phase, he also did whatever he could to support and teach you as long as you were motivated to learn

-he's a bit of a strict father in general, but he tries to not be too strict so you won't lose your joy in fighting. But he also needs you to be disciplined and serious about it, so he's trying to find some balance in that

[scalproie]

I've been seeing lots of debate regarding the Tekken 8 character endings, especially compared to MK 1, and since I'm not that big on the lore, I wanted to ask how you feel about the different approaches these games went for those endings?

Honestly its a matter of personal preferences I would say!

MK12 decided to make every character ending canon, thru them you get to learn what the characters have been up to post-story mode, and if you have additional questions, you may find an answer in the dialogue intros. It's pretty straighforward even if you do have to do a bit of research to get the full picture. Mortal Kombat also doesnt have a clear-cut protagonist (even if fire god Liu Kang is the closest we get to that role) so it's easier for it to divide the focus on it's multiple characters, and the fact that it's very much a fantasy setting means that you have an infinite amount of lore to establish, so you never run out of things to say and do with characters.

Mortal Kombat is trying to build a world, but that means that everything the characters do are meant to move this worldbuilding forward, and the future story, along, you dont really get "fluff" out of MK12's endings. And also, MK12 doesnt exist in a vaccum, it's a new timeline so it's obviously going to be compared with its predecessors, and sometimes it's like "look we're making a callback to a previous thing!" or "look we're doing this thing completely different!", and let's just say that if you DONT like those choices and changes, well you're fucked. Because it's here to stay. And sadly Im in that category.

As for T8, the story mode and the characters endings are NOT related, every single T8 character ending is non-canon, BUT. the characterization is. It's all "fluff". And it's honestly not a problem bc it makes things more focused: the characters episodes have a clear beginning meant to establish the character's motivation, a few dialogues between the different fights, and an ending, and out of all of that you get a clearer picture on who the character is, on their relationships with other characters... the endings dont NEED to advance the story forward bc that's what the story mode is for, the endings are here for presentation, for spectacle, for fun. And they're MAD fun.

As opposed to MK, Tekken has a clear set of protagonists: the titular tournament hosts, the Mishimas, and I'm lucky enough to find their story really interesting and to have them as my favorite characters. Some other people don't, however, and that's where you usually get the "oh [...] didnt do anything in the story!"

In MK12, that can be a problem, bc the story is ALL you're gonna get about your fav, but in T8, it's like... yeah? This is Jin's story, why the fuck would Feng (chinese kenpo master wanting to be the strongest) be relevant. And imo, his inclusion in the actual story was the best it couldve been (he lost to a wing chun master who chose to support Jin so he joined the bad guys team to get revenge, we see him for one fight and thats it). Not ALL characters have to be relevant, and if you want to see more of your fav: well they have an entire episode dedicated to them, with a fun little cgi cutscene at the end!

Tekken is like a movie: you dont need every character to be fully developped to drive the message of the story across, Mortal Kombat is like a franchise: every character has something to contribuate to build the world and move the story forward. Tekken wants to be Fast And Furious and Mortal Kombat wants to be Star Wars. They're different with both positives and negatives.

[clownbarnum]

YEAHHHHHHHHHHHHHHHHHHHHHHHHHJHJJJHHHHHHHHHHHHHHH 10,000 YEARS OF ANCIENT CHINESE KENPO

[dragon-of-europe]

Kajukenbo Tum Pai, Green / Brown Test, Form #2, 12/11/1999

[nuncock]

nothing can overcome these 4000 years of chinese kenpo. trust it. believe in it.

[ganzl]

In the Beginning of Kenpo Karate

I began studying Kenpo in 1967.  It was so unknown that it was called Kenpo Karate so it could be identified with the art of Karate. Not that that many people knew what karate was. Kenpo was born in Japan. There are many lineages, but the specific Kenpo that is so widely known these days came from James Mitose, Thunderbolt Chow, Ed Parker, and finally, an instructor near you. Martial Arts were…

[tokiro07]

Undead Unluck ch.143 thoughts

[Ashita no Fuuko]

It’s the third year anniversary! Only one more year until my prophecy comes to pass, and at the pace we’re going, I can absolutely see Undead Unluck either making it right to the finish line or even going over by a number of chapters! I don’t necessarily see it hitting five years, but at the same time I’m not exactly opposed to the idea

Man...there’s something melancholy knowing that we might well be in the final year of the story, much like how One Piece is rapidly approaching its finale in the next two years or so. I’m very excited, but I’m honestly worried about what’s going to fill the void. I’m loving Cipher Academy, but for completely different reasons, and I’m definitely not as attached to Cipher Academy as I am to Undead Unluck

But enough moping! This is a celebratory time, and we open with a stunning color page! This is our first time seeing Void in color, and seeing how he contrasts Fuuko in his color scheme and build really makes him feel impressive. However, Fuuko herself is definitely the highlight here. Not only is she brimming with a confidence that the girl from the beginning of the series wouldn’t have even dreamed of having, her hair is actually highlighted with the pink and blue of the series’ iconic paint splotch imagery, and the effect is gorgeous

On a lesser note, this is also the first time we see Nico’s color scheme in his younger years, and the strained lilac hair we’re used to is now a deeper purple. I don’t know if there was a way that Tozuka could have carried that effect over in black and white, but man, this really makes it clear how much younger Nico is here than in the previous Loop

Fuuko approaches the ring with her teammates playing the role of her coach and backup, with Nico specifically wearing an eyepatch as a reference to Danpei Tange, the coach from Ashita no Joe. Once again following translator David Evelyn pays off!

Nico notes that the best strategy for fighting Void is to evade until he runs out of stamina, which, coupled with his “peek-a-boo” fighting style, is a clear reference to Mike Tyson whom Void’s major inspiration of Street Fighter’s Balrog is based on

The announcer very explicitly refers to Fuuko as a man, which at first might seem jarring, but it’s actually because of Nico’s memory control device; because intergender matches are prohibited in professional boxing, the world at large, and most notably the sponsors need to believe that Fuuko is a man. Naturally, Void can see Fuuko for who she is, but he’s already agreed to the match anyway, so it doesn’t really matter to him

Fuuko hits Void with a one-inch punch, which due to its origins in Chinese martial arts, Void identifies it as a kenpo technique, indicating that he’s likely familiar with a variety of fighting styles and not just necessarily American boxing. Kenpo itself is derived from the Chinese quanfa, which I believe is a pretty generic term, but basically it means that Fuuko is using a Chinese or Chinese-inspired technique rather than say a Japanese karate or jujutsu technique, most likely learned from fighting Feng

Likely because she had used the same technique on Void in their first encounter, Void seems unaffected this time, despite Fuuko knowing from practicing on Nico that it’s effective at targeting an opponent’s organs. Poor Nico, suffering traumatic intestinal damage just as a guinea pig

The group gears up for Void to get hit with a wave of Unluck, only to be disappointed when nothing happens. Even when facing down a barrage, Fuuko insists on dodging so as not to accidentally activate Unluck

The first round ends and Void takes notice that Fuuko is hiding her ace, which her team chastises her for while also taking care of her. Ichico gives Fuuko some water and Nico rubs a copious amount of Vaseline on her face, which is funny cus I don’t even think she got hit in the face, so it’s not like she needs to stop any bleeding yet

Fuuko explains that she won’t use Unluck until Void becomes a Negator because that would potentially cut the final match of his career short, and she would much rather he go out on a high note. I imagine that this would not only help him to leave boxing behind without any regrets, but it would also be helpful in building a rapport between them, which I believe I mentioned a few chapters ago was an important aspect of Fuuko’s leadership style. She wants Void to respect her, so a humiliating defeat would only serve to prove she’s stronger than him and potentially build resentment. Letting him fight to his heart’s content and have a great time, on the other hand, would make him much more loyal to Fuuko and the Union’s goals. The way I’m wording it kind of makes it sound manipulative, but what I’m trying to convey is that she’s trying to be his friend, not his boss, and her ability to understand what’s important to other people strongly facilitates that approach

Fuuko gets more serious and breaks out one of Feng’s Shin Hakkyoku moves, the Lashing Step Cannon, only to be countered with a barrage, pushing her to the ropes. As Fuuko slumps against the ropes, Void dejectedly asks the referee to start the count, sad that the match seems to have ended, only for Fuuko to declare that she wants the best match possible and launch herself at him using the tension of the ropes

Void sees how haggard Fuuko is and can tell that she doesn’t really have the stamina to keep going, and instead is being kept in the game by sheer grit. Because of this, he declares that she’s the “best at being a boxer” out of all of his opponents, and lunges

In this moment, Void gains Unavoidable and Fuuko is forced to freeze. Void panics, worried that the match he was just having such a blast with is going to end with what should be an easily avoidable punch, and lands his strike right on Fuuko’s cheek. Considering that this is the punch that killed Ed in the previous Loops and that Fuuko is not trained to take a punch like this, I think that Void may have slightly altered the path of his punch in his panic, cus if that had hit her in the temple it definitely would have killed her. Her ponytail and her mouth guard get punched out and Fuuko is even sent flying, I have to figure it felt like she was getting hit by a car

Now that Void has become a Negator, Fuuko asks Gina to catch her with Unchange, allowing her to throw herself back into the action and landing a body blow on Void. Through a bloody crazed smile, Fuuko declares that this is now Negator Boxing, meaning that now she’s willing to start using Unluck

Also, props to Tozuka for drawing a woman getting so utterly brutalized. I think a lot of artists would shy away from that type of thing, but Fuuko’s bleeding from the mouth, her eye is almost swollen shut, there’s a huge bruise covering half her face...and she’s still got a huge smile on her face. Fuuko’s no stranger to this kind of thing, with her bloody nose in chapter 1, but this elevates it so much higher. I’m almost worried about how she’s going to look during the final battle

It’s interesting that Nico had said that Fuuko needed Unluck to even the odds, but the reality is that Unluck itself so massively outclasses simple boxing in terms of damage output that refusing to use it was actually a handicap for Void’s benefit, not the other way around. It’s only when Void is in possession of Unavoidable that the fight truly becomes even, as now it’s a battle between Unluck + Shin Hakkyoku and Unavoidable + boxing

How this match will evolve from here is anyone’s guess, so here’s mine; Fuuko’s Unluck will manifest with the ropes flinging Void directly into Fuuko’s fist, flinging Fuuko into one of Void’s openings, the ropes breaking when Void hits them, a light(s) falling on Void from the scaffolding, THE SCAFFOLDING falling on Void, and ultimately the bell going off at the least opportune moment for Void in one round, possibly the final round

I’m sure someone who’s more familiar with boxing could see more possibilities for how this goes, but those are my predictions. I think those all may be a little too straightforward for Tozuka, but boxing is pretty restrictive in its setting, so I can’t really see any other way for it to go aside from meteors, which I don’t think Tozuka would want to use here. Honestly, shockingly mundane things like those would actually be really exciting developments in a boxing match, I think, and I’m sure it’s more about the execution than the idea anyway

The fight is really heating up, and I’m glad that since I accidentally waited a few days to post this that it’ll only be a couple more until we get to see where it goes. I wonder if it’ll be resolved in this coming chapter or if it’ll spill over one more...

[supermariomamafucker]

retsu kaioh

i hear hes a master of chinese kenpo