
Welcome to the last of the three parts dedicated to the self-preservation of women. Before we begin with this last article, I would like to explain why I always use the term self-preservation, rather than the term self-defense. Self-defense is something taught by many people who are full of bad habits, bad tactics, erroneous ideas about the reality of violence, as well as ineffective and outdated techniques.
In my many years of work as a martial artist and another 16 years as an instructor, my experience was that the term self-defense puts a completely unreal picture of violence in people's heads. They often represent something like a movie scene, where one person, especially a woman, can take on the attackers and escape unscathed. On the other hand, self-preservation destroys a mistake, implying a danger: we train to stay alive.
This is a reality that you can and most likely get injured in real life. After a long martial arts training session, Brandon Lee (son of Bruce Lee) returned to his apartment in the evening to find a robber. This burger was armed with a knife and attacked Lee. Despite the fact that Lee received over his attackers, he received wounds that require stitches. Although you can stop the meeting without any harm to your face, the term self-preservation prepares us for the reality that he probably will not go like a movie.
Using a more aggressive sound term, we prepare for the reality of violence and are ready for a more direct and aggressive strike. Self-defense is more of a tactic used to defeat schoolchildren, awaiting the arrival of a teacher or principal, while self-preservation is faced with a situation where your life is on the line, and all that matters is survival, regardless of cost.
This is βyes, but you must see the other guy.β With that said, this final article goes beyond the tactics of βStrike and Runβ of our βEscape to Get Safetyβ program, discussed in our last two articles (if you didn't read them, I included the links at the bottom of this article). In this article, we will look at what to do if running away is not an option, either from the beginning, or after you learn about this fact after applying the Escape To Gain Safety tactics.
In the last article, we constantly talked about the mantra of speed, surprise and violence in CQB. We then defined βViolence of Actionβ as: delivering the designated strike in this way and with enough force to initially surprise, stun and momentarily stun your attacker.
In this case, the flight is not an option. You tried to use other opportunities to get rid of harm. However, in cases where the flight is not an affordable option, and the fight is your only remaining resource, you must strengthen your self-preservation tactics and move from the initial Action Violence to asymmetric violence.
Asymmetrical violence is a shift not only in the strategy of struggle, but also in the struggle with the mentality. Here we have to develop the killer instinct mentality. The killer instinct is the consciousness of readiness: the willingness to do everything possible to survive.
As soon as we have this willingness of mind, Asymmetrical violence can be deployed. Asymmetrical violence is simply defined: to fight an extreme fight so quickly, to stun, surprise and mentally outrun our opponent by quickly turning it off.
Let me give you an example: in the last article we covered hooks. I have listed several different types and examples from the cave of several variations of interceptions. I mentioned that one type was destruction. While I did not go into details about what destruction is and how to deliver it, let me do it now. Destruction is a tactic that comes from Cali (Filipino art, which uses both empty hands and weapons, but is mainly associated with a stick and bladed weapons, such as a knife or sword) and can be delivered either to the High Line (above the waist ) or bottom line (below the waist). There are two types of High Line destruction, but in this case I just want to use them. "The elbow of destruction." Destruction of the elbow can be effectively used against any blow that an attacker attacks. You may have to turn a little or at an angle to do this, but it is possible. Destroying the elbow simply raises your arm and is placed in such a way that the joints of the attacker's shock arm strike the sharp point of your elbow.
The knuckles are part of the Metacarpals. They are very fragile and break easily. The point of the elbow is called olecranone. Keep in mind that it takes only 3 pounds of pressure to break the neck of the metacarpal. (The metacarpal neck is the thumb on each finger, which becomes pronounced when you make a fist). Conversely, the destruction of olecranone requires 8-12 pounds of pressure. As you can see, the fist will break and often shatters long before the elbow. In fact, the metacarpal rupture or the lobe of the 4th or 5th metacarpus is the most common injury in the world and is called the Boxer fracture, although it has recently been called the chopper, (the 4th and 5th strands are found on what is commonly called the ring and myzini fingers).
Destruction is a great strategy and fighting strategy, because it destroys the attacker's hand. Such an initial response is not only good in terms of violence, but is also an excellent example of Asymmetric violence. The attacker hit you and broke your arm on the first blow. This usually ends in battle, however, if itβs not, or you miss it slowly and purely, it causes asymmetrical violence. Keep in mind that these answers may seem extreme: it is self-preservation and intended to keep you alive. It will not be beautiful. There is another element of mercy, regardless of whether you see it first. If we break the attacker's hand in our first move and finish the fight, we not only did not seriously suffer, but we did not have to hurt, maim or kill our attacker forever. Asymmetrical violence takes a quick and extreme response to the situation in order to disacal it instantly.
Now that we have discussed what destruction is and why it works, I want to give you a formula for fighting that will serve you for the rest of your life. This formula is an excellent example of asymmetric violence. Throughout this entire series of articles, we talked about the Close Quarter Battle and equated its guidelines with our strong crime zone. If a violent crime and combating violent crime follows the CQB rules that are used by the US military elite, such as DEVGRU (SEAL TEAM 6), then we are wise to use the same tactics used to process and de-escalate the situation as quickly as possible. The system they use: Rapid Assault Tactics, a system created by Paul Vunak and Thomas S. Cruise from progressive combat systems. Both of these men not only spent years with SEALS every day in VA, but still spend most of their time with our Military-Military elite units today. I, fortunately, practiced very intensively with both these people and called them more than my Sifus, but also my friends. I say this so that you know that you are not getting the second tactic of the rat, but best of all, directly from the source.
Rapid Assault Tactics follows a logical progression: Enter Γ Pressure Γ Termination. This stream is the absolute best methodology for successfully completing a battle with minimal damage to yourself and your attackers. It follows the idea of ββAsymmetric violence, starting with the often ending maneuver, such as destruction, and constantly increasing the reality of violence until the battle ends.
Let's define and consider each element of the Rapid Attack Tactics Formula. The first stage is the entrance: the entrance is your interception or destruction. To achieve this successfully, as an untrained person, we must give you a starting position that makes it easy to deliver destruction with minimal movement. The best position for this is the modified Muay Thai phase, where your arms are raised above your head and your elbows are under your chest (think of it as βhands up!β. Posture, but your elbows are not above your chin). Your head should be lowered, and you should look through the hole in the elbows. We want to stand up and move, lifting our knee in an alternating fashion. This movement creates what we call the Cocoon of Violence. This is true because, as you use elbows to discharge debts on the high line, you use your knee to perform damage on the bottom line.
I defined the record, but we need to look at it in more detail before moving on to the rest of the Rapid Assault Tactics stream. Do I break every aspect of Entry? Pressure? Stopping the flow down, equating each phase with a word in our RAT program. For example, Entry (for me) Rapid in RAT. This is due to the fact that either interception or destruction is quickly delivered at sunset, before your attacker can get his rhythm and feel at ease. Although interceptions are effective, I believe that they require much more training and practice to be a practical tool for any person. It is for this reason that we will focus on losses with one exception. This is an exception if the attacker βloadsβ and hits. When an attacker βgains momentum,β he always pulls his arm away and delivers a wild hook, often called a John Wayne punch. If he does, either hit his eye (s) with a finger, or pierce his nose, as described in the last article. If his groin opens, because he is looking directly at you, you can also hit the groin using one of the attacks from the last article. Once this is done, go to Phase 2. Otherwise, stick to the position and destruction of Muay Thai. Destructions are delivered by elbows for blows and knees for blows. When an attacker throws a punch, simply turn your body slightly so that your elbow is in front of the punch. Make sure your elbow point is aligned with the punch. You may have to lean back to do this. Also keep in mind that this position may appear open in the middle section. If he strikes a blow to the stomach (midsection), just click a finger over his eyes - he cannot reach your middle part without being within the radius of the impact of the finger. Onward.
If the attacker throws a punch, lift the leg so that the foot or lower leg is removed by the knee point (it takes about 8-15, sometimes even 30 pounds of force to break the knee, not 5-7 to break the shin bones and foot bones) Be sure to turn your knee to the oncoming hit.
For example, if someone throws a straight lead, you just lift your knee straight to meet the blow. However, if they throw a punch in the direction of your foot, such as a Muay Thai style round punch, then you would point your knee 45 degrees to meet the counter punch. You can ask what if they throw a punch in the middle and you can't get it with your knee.
This, my friend, is the place where the cocoon of violence comes. Raising your knee, holding your hands in the Thai style of advancement, you create a small area that your leg can fall into, and, lowering the corresponding elbow on your leg, lifting, you can now break your leg.
You cannot always break an arm or a leg in this stage of Entry or Rapid, and that is normal. The only thing you will do every time is to create a pain reaction. This is the opportunity you need to move on to our second phase, "Pressure" or "Attack" in the Rapid Assault tactic.
As soon as the attacker gives you a sore reaction, grimacing, grabbing him by the arm or leg, etc., we turn to Bruce Lee's favorite movement: "Direct explosion." This step is designed to suppress and push your attacker back. It has long been known that no one can protect themselves or fight when backing up.
First he must stop and get a base before he can start any effective defense, counter attack or attack. The RAT direct explosion occurs differently from the traditional direct explosion found in Wing Chun, called Jik Chun Choi.
I will write an article that discusses the differences between them and their strengths / weaknesses later. For now, let's just stick with the RAT Straight Blast, developed by the founders of Progressive Fighting Systems Paul Woonack and Thomas S. Cruise. This step is quite simple: Wu describes it as a "50 inch line down the center line."
The centerline is an imaginary line from the tip, if head to floor, which would evenly divide your body into the left side and the right side. To make a "direct explosion," you will run at full speed with your opponent, keeping the center line of your elbow at chest level and alternately shifting your blows at each other, periodically repeating your opponent's face.
Let's break it down a little more. To perform a direct strike, first make sure you use the vertical fist. We always strike with a vertical fist, without striking certain targets in the middle of the body, such as the solar plexus or floating ribs.
For these goals, the regular punch βBoxerβ approaches the goal, where the vertical fist will simply move and not fall. Perforation on the face, as is done in a direct explosion, is best done with a vertical fist or yes as described in our last article.
The reason is simple. With a traditional horizontal stroke, you should only come into contact with the first two joints, and this is due to the fact that the average person has the largest and strongest joints.
The disadvantage of this is that it takes a lot of excellent motor skills, since the striking surface is 1 inch or less. Because of the chemical reaction of the fight or the reaction to the flight, your subtle motor skills decrease in battle, which is why most people miss and ultimately end up in the last two pasterns, which leads to a "Boxer fracture."
If you flip your vertical punch and hit the lower three pasterns, located in the middle, ring and little finger, you will increase the surface area of ββyour punch, reduce the likelihood of breaking your arm and you can control the bottom or little joints in the face after the first punch for more punch and damage.
Now that we have established why we prefer the vertical fist, let us return to the direct explosion. Bring your elbows into the center line and strike with your hand. Then bring this hand back and down the center line, raising and striking alternately.
Slowly lower this hand and return it, slowly raising and striking with your dominant or βpowerβ hand. This creates a circular roll that does two things: 1) it increases the speed of your strike and 2) holds your hand on the centerline at any time, making it extremely difficult to hit you in the face when your face and chest are always guarded.
Straight Blast should only be done in a short flash, while you are running forward with your opponent. The essence of this step is not to knock out the attacker, but simply to suppress them and create a reaction. Your attacker will either raise his hands to cover and block, or his hands will come out right on the sides, trying to restore balance.
This is your moment! If his hands go out on the side, we move straight to phase 3, but if he closes or otherwise throws his hands in front of his face to stop a barrage of blows, we must clear the obstacle to get to the neck.
This is usually done using a combination of Pak Sau or Pak Sau-Lop Sau for cleaning hands. They are known as traps and from Wing Chun. Pak Sau is done by taking your back hand (Remember that in JKD we use the power side by side, known in boxing as a left-handed person) and cupping your hand as you dig up a drink of water in your mouth and hit your opponents with your hand down.
You want to strike or slap around the middle of the arm and insert the arm into the middle of the body, causing it to strike the solar plexus while simultaneously striking the face with a hand. Be sure to move forward while he pulls in his hand in his middle and simultaneously punches his face.
A hand hammered into the middle will cause your attacker to double, in combination with your forward movement, advancing the strike, adding strength and strength to your attack. * Note: Technically, Wing Chun School will tell you that the Pak Sau described above is actually a βsmackβ of Pak Sau and a gingival βpush with a handβ.
I just want to say that I know this, but for the sake of convenience, I will talk about everything like Pak Sau. After you have made this Pak Punch transition, most often you can grab your neck and go to step 3.
Sometimes you encounter a person who either by design or practice, or by the dead-end luck of a reflex, can bring his back hand to block a blow to the face. This type of wiper, check or lock is called a Wu Sau or protective hand.
Π ΡΡΠΎΠΌ ΡΠ»ΡΡΠ°Π΅ Π²Ρ Π·Π°ΠΌΠ΅ΡΠΈΡΠ΅, ΡΡΠΎ Π΅Π³ΠΎ Π±Π»ΠΎΠΊΠΈΡΡΡΡΠ°Ρ ΡΡΠΊΠ° ΠΈ Π·Π°ΠΊΡΠ΅ΠΏΠ»Π΅Π½Π½Π°Ρ ΡΡΠΊΠ° ΠΎΠ±ΡΠ°Π·ΡΡΡ ΡΠΎΡΠΌΡ. Π― Ρ ΠΎΡΡ, ΡΡΠΎΠ±Ρ Π²Ρ Π±ΡΡΡΡΠΎ ΠΈ ΠΏΠ»Π°Π²Π½ΠΎ Π²Π·ΡΠ»ΠΈ ΡΡΠΊΡ, ΠΊΠΎΡΠΎΡΠ°Ρ ΠΏΡΠΈΠΆΠΈΠΌΠ°Π»Π° Π΅Π³ΠΎ ΡΡΠΊΡ ΠΊ Π΅Π³ΠΎ ΡΠ΅Π»Ρ ΠΈ ΡΠ»Π΅Π³ΠΊΠ° ΠΏΠΎΠ΄Π½ΠΈΠΌΠ΅Π»Π°. ΠΠΎΠ·ΡΠΌΠΈΡΠ΅ Π΅Π³ΠΎ Π·Π° ΡΡΠΊΡ, ΠΏΡΠΈΠΆΠ°Π² ΠΏΠ°Π»ΡΡΠ΅ΠΌ ΠΊ ΡΡΠΊΠ΅ Π² ΡΠΎΡΠΌΠ΅ ΡΠ°ΡΠΊΠΈ, ΠΎΠΏΠΈΡΠ°Π½Π½ΠΎΠΉ ΡΠ°Π½Π΅Π΅, ΠΈ ΠΏΠΎΡΡΠ½ΠΈΡΠ΅ Π΅Π³ΠΎ Π·Π°ΠΏΠ΅ΡΡΡΡ ΡΡΠΊΡ Π½Π° Π΅Π³ΠΎ ΠΎΡΠ΅Π²ΡΡ Π»ΠΈΠ½ΠΈΡ, ΡΠ°ΡΠΊΠ°Π»ΡΠ²Π°Ρ V ΠΈ Π²ΡΠ°Π»ΠΊΠΈΠ²Π°Ρ Π΅Π΅ Π² ΡΠ²ΠΎΠ΅ ΡΠ΅Π»ΠΎ, ΠΏΡΡΠΌΠΎ Π½Π° Π΄ΡΡΠ³ΡΡ ΡΡΠΊΡ.
ΠΡΠΎ ΠΏΡΠΈΠ²Π΅Π΄Π΅Ρ ΠΊ ΡΠΎΠΌΡ, ΡΡΠΎ ΠΎΠ±Π° ΠΎΡΡΠΆΠΈΡ Π±ΡΠ΄ΡΡ ΠΏΡΠΈΠ²ΡΠ·Π°Π½Ρ ΠΊ Π΅Π³ΠΎ ΡΠ΅Π»Ρ, ΠΎΠ΄ΠΈΠ½ ΠΏΠ΅ΡΠ΅ΠΊΡΠ΅ΡΡΠΈΡΡΡ Π½Π°Π΄ Π΄ΡΡΠ³ΠΈΠΌ, ΠΊΠ°ΠΊ Π±ΡΠ΄ΡΠΎ ΠΎΠ½ ΠΏΡΡΠ°Π΅ΡΡΡ ΠΎΠ±Π½ΡΡΡ ΡΠ΅Π±Ρ. Π ΡΠΎ ΠΆΠ΅ Π²ΡΠ΅ΠΌΡ, Π²ΠΏΠ΅ΡΠ΅Π΄ ΠΈ ΡΠ΄Π°Ρ Ρ Π²Π°ΡΠ΅ΠΉ ΡΡΠΊΠΎΠΉ. ΠΡΠΎΡ Ρ ΠΎΠ΄ Π½Π°Π·ΡΠ²Π°Π΅ΡΡΡ ΡΡΡΠΊΠΎΠΉ ΠΠΎΠΏ Π‘Π°Ρ ΠΈΠ»ΠΈ ΠΡΠ°Π±. * ΠΈ Π΄Π°, ΡΡΠΎ ΡΠ΅Ρ Π½ΠΈΡΠ΅ΡΠΊΠΈ Lop Sau, Gum Sau, Π½ΠΎ ΠΏΠΎ-ΠΏΡΠ΅ΠΆΠ½Π΅ΠΌΡ Π»Π΅Π³ΠΊΠΎ ΠΏΠΎΠ½ΠΈΠΌΠ°Π΅Ρ Π³ΡΠ°Π½ΡΡ, ΠΊΠΎΡΠΎΡΡΠ΅ ΠΌΡ Π½Π°Π·ΡΠ²Π°Π΅ΠΌ Π²ΡΠ΅ΠΌ Π΄Π²ΠΈΠΆΠ΅Π½ΠΈΠ΅ΠΌ Lop Sau.
ΠΠΌΠ΅Π½Π½ΠΎ Π² ΡΡΠΎ Π²ΡΠ΅ΠΌΡ ΠΌΡ ΠΏΠ΅ΡΠ΅Ρ ΠΎΠ΄ΠΈΠΌ ΠΊ ΡΠ°Π·Π΅ 3: ΠΡΠ΅ΠΊΡΠ°ΡΠ΅Π½ΠΈΠ΅. ΠΠΎΠ³Π΄Π° Ρ Π½Π°Ρ Π΅ΡΡΡ ΡΠ΅ΡΠΊΠ°Ρ Π»ΠΈΠ½ΠΈΡ Π½Π° ΡΠ΅Π΅, Π±ΡΠ΄Ρ ΡΠΎ Π΅Π³ΠΎ ΡΡΠΊΠΈ Π²ΡΠ»Π΅ΡΠ΅Π»ΠΈ ΠΈΠ· ΡΡΠΎΡΠΎΠ½Ρ, Π΄Π°Π²Π°Ρ Π½Π°ΠΌ ΡΠ΅ΡΠΊΡΡ Π»ΠΈΠ½ΠΈΡ Π½Π° ΡΠ΅Π΅, ΠΈΠ»ΠΈ Π½Π°ΠΌ ΠΏΡΠΈΡΠ»ΠΎΡΡ ΠΎΡΠΈΡΡΠΈΡΡ ΠΏΡΠ΅ΠΏΡΡΡΡΠ²ΠΈΡ Ρ ΠΠ°ΠΊ Π‘Π°Ρ ΠΈΠ»ΠΈ ΡΠΎ, ΡΡΠΎ ΠΌΡ Π½Π°Π·ΡΠ²Π°Π΅ΠΌ ΠΠ°ΠΊ ΠΠΎΠΏ, ΡΠΎΠ³Π΄Π° ΠΌΡ ΠΏΡΠΎΡΡΠΎ ΡΠ°Π³Π½Π΅ΠΌ Π²ΠΏΠ΅ΡΠ΅Π΄ ΠΈ Π·Π°Ρ Π²Π°ΡΠΈΡΠ΅ ΠΎΡΠ½ΠΎΠ²Π°Π½ΠΈΠ΅ Π³ΠΎΠ»ΠΎΠ²Ρ ΠΈ ΠΏΡΠ΅ΠΊΡΠ°ΡΠΈΡΠ΅ Π±ΠΎΡΡΠ±Ρ, ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡ Π³ΠΎΠ»ΠΎΠ²Π½ΡΠ΅ ΠΎΠΊΡΡΠΊΠΈ, ΠΊΠΎΠ»Π΅Π½ΠΈ ΠΈ Π»ΠΎΠΊΡΠΈ, ΡΠ°ΡΡΠΎ Π½Π°Π·ΡΠ²Π°Π΅ΠΌΡΠ΅ HKE.
ΠΡΠ»ΠΈ Π²Ρ Π²ΡΠ±ΠΈΡΠ°Π΅ΡΠ΅ Π³ΠΎΠ»ΠΎΠ²Π½ΠΎΠΉ ΡΠ±ΠΎΡ ΠΈΠ»ΠΈ ΠΊΠΎΠ»Π΅Π½ΠΎ, ΠΎΠ±ΡΠ·Π°ΡΠ΅Π»ΡΠ½ΠΎ Π²ΠΎΠ·ΡΠΌΠΈΡΠ΅ΡΡ Π·Π° Π³ΠΎΠ»ΠΎΠ²Ρ ΠΎΠ΄Π½ΠΎΠΉ ΠΈΠ· Π²Π°ΡΠΈΡ ΡΡΠΊ, Π° Π·Π°ΡΠ΅ΠΌ Π²ΠΎΠ·ΡΠΌΠΈΡΠ΅ Π·Π°ΠΏΡΡΡΡΠ΅ ΡΡΠΎΠΉ ΡΡΠΊΠΈ Ρ Π΄ΡΡΠ³ΠΈΠΌ. ΠΡΠΎ Π½Π°Π·ΡΠ²Π°Π΅ΡΡΡ Β«ΠΎΡΠ²Π΅ΡΒ» Π² ΠΡΠ°ΠΉ Π’Π°ΠΉ. ΠΠ»Ρ ΠΊΠΎΠ»Π΅Π½Π° Π²Ρ ΠΏΡΠΎΡΡΠΎ ΠΏΡΠΈΡΡΠ³ΠΈΠ²Π°Π΅ΡΠ΅ Π³ΠΎΠ»ΠΎΠ²Ρ Π²Π½ΠΈΠ· ΠΊ Π·Π΅ΠΌΠ»Π΅, ΠΏΠΎΠ΄Π½ΠΈΠΌΠ°Ρ ΡΠ΅ΡΠ΅Π΄ΡΡΡΠΈΠ΅ΡΡ Π½ΠΎΠ³ΠΈ, ΡΠ΄Π°ΡΡΡ Π² Π»ΠΈΡΠΎ. ΠΡΠ»ΠΈ Π²Ρ Π²ΡΠ±ΠΈΡΠ°Π΅ΡΠ΅ Π³ΠΎΠ»ΠΎΠ²Π½ΠΎΠΉ ΠΏΡΠΈΠΊΠ»Π°Π΄ΠΎΠΌ, Π²Π°ΠΆΠ½ΠΎ ΠΎΡΠΌΠ΅ΡΠΈΡΡ, ΡΡΠΎ ΠΏΡΠΈΠΊΠ»Π°Π΄ΠΎΠΌ Π³ΠΎΠ»ΠΎΠ²Ρ Π½Π΅ Π΄ΠΎΡΡΠ°Π²Π»Π΅Π½ΠΎ, ΠΊΠ°ΠΊ Π²Ρ Π²ΠΈΠ΄ΠΈΡΠ΅ ΠΏΠΎ ΡΠ΅Π»Π΅Π²ΠΈΠ·ΠΎΡΡ, ΠΏΡΠΎΡΡΠΎ Ρ Π»ΠΎΠΏΠ½ΡΠ² Π»Π±ΠΎΠΌ Π² Π»ΠΎΠ± Π½Π°ΠΏΠ°Π΄Π°ΡΡΠ΅Π³ΠΎ. ΠΡΠΎ ΠΏΠΎΡΠΎΠΌΡ, ΡΡΠΎ, Ρ ΠΎΡΡ ΡΡΠΎ ΠΏΡΠ°Π²Π΄Π°, ΡΡΠΎ ΡΡΠΎ ΡΠ°ΠΌΠ°Ρ ΡΠ»ΠΎΠΆΠ½Π°Ρ ΡΠ°ΡΡΡ Π²Π°ΡΠ΅ΠΉ Π³ΠΎΠ»ΠΎΠ²Ρ, ΠΎΠ½Π° ΡΠ°ΠΊΠΆΠ΅ ΡΠΎΠ΄Π΅ΡΠΆΠΈΡ ΡΠ°ΠΌΡΠΉ Π±ΠΎΠ»ΡΡΠΎΠΉ ΠΊΠ»Π°ΡΡΠ΅Ρ Π½Π΅ΡΠ²ΠΎΠ² ΠΈ ΠΏΡΠΈΡΠΈΠ½ΠΈΡ Π²Π°ΠΌ Π±ΠΎΠ»Ρ, ΠΊΠ°ΠΊ ΠΈ Π΅ΠΌΡ.
ΠΠΌΠ΅ΡΡΠΎ ΡΡΠΎΠ³ΠΎ ΠΎΠΏΡΡΡΠΈΡΠ΅ Π³ΠΎΠ»ΠΎΠ²Ρ ΠΈ ΠΏΡΠΈΠΆΠΌΠΈΡΠ΅ Π³ΠΎΠ»ΠΎΠ²Ρ ΠΊ ΡΠ²ΠΎΠ΅ΠΉ Π½ΠΈΠΆΠ½Π΅ΠΉ Π³ΠΎΠ»ΠΎΠ²Π΅ ΠΈΠ»ΠΈ ΠΎΠΏΡΡΡΠΈΡΠ΅ ΡΠ²ΠΎΠΉ Π²Π΅Ρ, ΡΠΎΠ³Π½ΡΠ² ΠΊΠΎΠ»Π΅Π½ΠΈ, Π° Π·Π°ΡΠ΅ΠΌ Π·Π°ΡΡΠ½ΡΡΠ΅ ΡΠ²ΠΎΠ΅ ΡΠ΅Π»ΠΎ Π²Π²Π΅ΡΡ ΠΈ ΡΠ»Π΅Π³ΠΊΠ° Π²ΠΏΠ΅ΡΠ΅Π΄, ΠΏΡΠΈ ΡΡΠΎΠΌ ΠΎΠΏΡΡΡΠΈΠ² Π³ΠΎΠ»ΠΎΠ²Ρ Π² ΡΠ΄Π°Ρ. Π ΠΎΠ±ΠΎΠΈΡ ΡΠ»ΡΡΠ°ΡΡ Π²Ρ Π΄ΠΎΠ»ΠΆΠ½Ρ ΠΏΠΎΡΠ°ΠΆΠ°ΡΡ Π³ΠΎΠ»ΠΎΠ²Ρ, Π±Π»ΠΈΠΆΠ°ΠΉΡΡΡ ΠΊ Π»Π±Ρ.
Π₯ΠΎΡΠΎΡΠ΅Π΅ ΡΠΌΠΏΠΈΡΠΈΡΠ΅ΡΠΊΠΎΠ΅ ΠΏΡΠ°Π²ΠΈΠ»ΠΎ ΡΠΎΡΡΠΎΠΈΡ Π² ΡΠΎΠΌ, ΡΡΠΎ Π΅ΡΠ»ΠΈ Π²Ρ Π²ΠΈΠ΄ΠΈΡΠ΅, ΡΡΠΎ Ρ Π²Π°Ρ Π³ΠΎΠ»ΠΎΠ²Π°, Π²Ρ Π΄Π΅Π»Π°Π΅ΡΠ΅ ΡΡΠΎ Π½Π΅ΠΏΡΠ°Π²ΠΈΠ»ΡΠ½ΠΎ. ΠΠ°ΠΊΠΎΠ½Π΅Ρ, Π΅ΡΠ»ΠΈ Π²Ρ Π²ΡΠ±Π΅ΡΠ΅ΡΠ΅ Π»ΠΎΠΊΡΠΈ, ΡΡΠΎ ΠΎΡΠ»ΠΈΡΠ½Π°Ρ ΠΈΠ΄Π΅Ρ ΠΈ Π΄Π°ΠΆΠ΅ ΠΏΡΠ°Π²ΠΈΠ»ΠΎ Π² ΠΌΠΎΠΈΡ ΡΠΊΠΎΠ»Π°Ρ Π²ΡΠ΅Π³Π΄Π° Π΄Π΅ΡΠΆΠ°ΡΡ ΠΎΠ΄Π½Ρ ΡΡΠΊΡ Π·Π° Π·Π°ΡΡΠ»ΠΎΠΊ. ΠΡΠΎ ΠΏΠΎΠ·Π²ΠΎΠ»ΡΠ΅Ρ Π½Π΅ ΡΠΎΠ»ΡΠΊΠΎ ΡΠ΄ΠΎΡΡΠΎΠ²Π΅ΡΠΈΡΡΡΡ, ΡΡΠΎ ΠΎΠ½ Π½Π΅ ΠΌΠΎΠΆΠ΅Ρ ΠΎΡΡΡΡΠ°Π½ΠΈΡΡΡΡ, Π½ΠΎ ΠΈ Π²ΡΡΠ½ΡΡΡ Π΅Π³ΠΎ Π² ΠΊΠ°ΠΆΠ΄ΡΠΉ ΡΠ΄Π°Ρ.
ΠΡΠ΅Π³Π΄Π° ΡΠ΅ΡΠ΅Π΄ΡΠΉΡΠ΅. ΠΡΠΎ ΠΎΠ·Π½Π°ΡΠ°Π΅Ρ, ΡΡΠΎ, Π΅ΡΠ»ΠΈ Ρ Π²ΠΎΠ·ΡΠΌΡ ΡΠ²ΠΎΡ ΠΏΡΠ°Π²ΡΡ ΡΡΠΊΡ ΠΈ Π»ΠΎΠΊΡΠ΅ΠΌ ΠΎΠ΄ΠΈΠ½ ΡΠ°Π· Ρ ΠΌΠΎΠΈΠΌ Π»Π΅Π²ΡΠΌ, Ρ ΡΠΎΠ³Π΄Π° ΡΡΠ°Π·Ρ ΠΏΠΎΠΉΠΌΠ°Ρ Π·Π°ΡΡΠ»ΠΎΠΊ Π»Π΅Π²ΠΎΠΉ ΠΈ Π»ΠΎΠΊΡΠ΅ΠΌ ΠΏΡΠ°Π²ΠΎΠΉ ΡΡΠΊΠΎΠΉ. ΠΠΎΡΠ»Π΅ Π½Π΅ΡΠΊΠΎΠ»ΡΠΊΠΈΡ ΡΠ΄Π°ΡΠΎΠ² Π»ΠΎΠΊΡΡΠΌΠΈ Π±ΠΎΠΉ Π΄ΠΎΠ»ΠΆΠ΅Π½ Π·Π°ΠΊΠΎΠ½ΡΠΈΡΡΡΡ. ΠΡΠΎ ΠΎΡΠ»ΠΈΡΠ½Π°Ρ ΠΈΠ΄Π΅Ρ, ΡΡΠΎΠ±Ρ ΠΏΡΠΈΠ²ΡΠΊΠ½ΡΡΡ ΠΊ ΡΠ°Π·Π½ΡΠΌ ΡΠ΄Π°ΡΠ°ΠΌ ΠΈ Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ ΠΈΡ Π² ΡΠΎΡΠ΅ΡΠ°Π½ΠΈΠΈ, ΡΡΠΎΠ±Ρ ΠΌΠ°ΠΊΡΠΈΠΌΠΈΠ·ΠΈΡΠΎΠ²Π°ΡΡ Π½Π΅ΠΎΠΆΠΈΠ΄Π°Π½Π½ΠΎΡΡΡ, ΡΡΠΎΠ±Ρ ΠΌΠΈΠ½ΠΈΠΌΠΈΠ·ΠΈΡΠΎΠ²Π°ΡΡ Π²Π΅ΡΠΎΡΡΠ½ΠΎΡΡΡ Π²Π°ΡΠ΅Π³ΠΎ Π·Π»ΠΎΡΠΌΡΡΠ»Π΅Π½Π½ΠΈΠΊΠ° ΠΈ Π΄Π°ΡΡ Π²Π°ΠΌ Π²ΡΠ΅ΠΌΡ Π΄Π»Ρ ΠΎΡΠ²Π΅ΡΠ° ΠΈ ΠΌΠ°ΠΊΡΠΈΠΌΠ°Π»ΡΠ½ΠΎΠ³ΠΎ ΡΡΠ΅ΡΠ±Π° Π² ΠΊΡΠ°ΡΡΠ°ΠΉΡΠΈΠ΅ ΡΡΠΎΠΊΠΈ Π²ΡΠ΅ΠΌΡ.
ΠΠΎΡ ΠΏΠΎΡΠ΅ΠΌΡ Ρ Π½Π°Π·ΡΠ²Π°Ρ ΡΡΠΎΡ ΡΡΠ°ΠΏ ΡΠ°Π·ΠΎΠΉ Β«Π’Π°ΠΊΡΠΈΠΊΠ°Β». ΠΠΎΠ·ΡΠΌΠΈΡΠ΅ ΠΏΠ°ΡΡΠ½Π΅ΡΠ° ΠΈ ΠΌΠΎΡΠΎΡΠΈΠΊΠ»Π΅ΡΠ½ΡΠΉ ΡΠ»Π΅ΠΌ Ρ ΡΠΈΡΠΊΠΎΠΌ Π΄Π»Ρ Π»ΠΈΡΠ° (ΠΈΠ»ΠΈ Π»ΡΠ±ΡΠΌ ΡΠ»Π΅ΠΌΠΎΠΌ Ρ ΠΏΠΎΠ»Π½ΡΠΌ ΡΠΈΡΠΊΠΎΠΌ Π΄Π»Ρ Π»ΠΈΡΠ°), Π½Π°ΡΡΠ΄Ρ Ρ ΠΏΠ΅ΡΡΠ°ΡΠΊΠ°ΠΌΠΈ ΠΈΠ· Π±ΠΎΠΊΡΠ° ΠΈΠ»ΠΈ MMA, ΠΈ ΠΏΠΎΠ²ΡΠΎΡΠΈΡΠ΅ ΡΡΡ ΡΠ°ΠΊΡΠΈΠΊΡ ΠΈ ΠΏΡΠΈΠ½ΡΠΈΠΏΡ.
ΠΠ°Π²Π°ΠΉΡΠ΅ ΡΠ°ΡΡΠΌΠΎΡΡΠΈΠΌ Rapid Assault Tactics. Π€Π°Π·Π° 1 Entry ΡΠ°ΠΊΠΆΠ΅ Π½Π°Π·ΡΠ²Π°Π΅ΡΡΡ Π±ΡΡΡΡΠΎΠΉ ΡΠ°Π·ΠΎΠΉ: ΠΏΠ΅ΡΠ΅Ρ Π²Π°Ρ ΠΈΠ»ΠΈ ΡΠ°Π·ΡΡΡΠ΅Π½ΠΈΠ΅. ΠΠ΅ΡΠ΅Ρ Π²Π°Ρ - ΡΡΠΎ ΡΠ»ΠΎΠ², ΠΏΠ°ΡΠΈΡΠΎΠ²Π°Π½ΠΈΠ΅ ΠΈΠ»ΠΈ ΡΠ»ΠΎΠ²ΠΊΠ°, ΠΊΠΎΡΠΎΡΡΠ΅ ΡΠ»Π΅Π΄ΡΠ΅Ρ Π½Π΅ΠΌΠ΅Π΄Π»Π΅Π½Π½ΠΎ ΠΈ ΡΠ°ΡΡΠΎ ΠΎΠ΄Π½ΠΎΠ²ΡΠ΅ΠΌΠ΅Π½Π½ΠΎ Ρ ΡΠ΄Π°ΡΠΎΠΌ Π²ΠΏΠ΅ΡΠ΅Π΄.
Π£Π½ΠΈΡΡΠΎΠΆΠ΅Π½ΠΈΡ Π²ΡΠΏΠΎΠ»Π½ΡΡΡΡΡ Π»ΠΎΠΊΡΠ΅ΠΌ Π΄Π»Ρ ΡΠ΄Π°ΡΠΎΠ² ΠΈ ΠΊΠΎΠ»Π΅Π½Π° Π΄Π»Ρ ΡΠ΄Π°ΡΠΎΠ². Π€Π°Π·Π° 2 Β«Π€Π°Π·Π° Π΄Π°Π²Π»Π΅Π½ΠΈΡ ΠΈΠ»ΠΈ Π½Π°ΠΏΠ°Π΄Π΅Π½ΠΈΡΒ»: ΠΊΠ°ΠΊ ΡΠΎΠ»ΡΠΊΠΎ Π²Ρ ΠΏΠΎΠ»ΡΡΠ°Π΅ΡΠ΅ ΡΠ΅Π°ΠΊΡΠΈΡ Π±ΠΎΠ»ΠΈ ΠΈΠ»ΠΈ ΡΠ»ΠΎΠΌΠ°Π½Π½ΠΎΠΉ ΡΡΠΊΠΈ / Π½ΠΎΠ³ΠΈ, ΠΌΡ Π±Π΅ΠΆΠΈΠΌ, Π΄Π²ΠΈΠ³Π°Ρ ΡΡΠΊΠ°ΠΌΠΈ ΠΊΡΡΠ³ΠΎΠ²ΡΠΌΠΈ Π΄Π²ΠΈΠΆΠ΅Π½ΠΈΡΠΌΠΈ, ΡΠ΄Π°ΡΡΡ ΠΏΠΎ Π»ΠΈΡΡ, ΡΠ΄Π΅ΡΠΆΠΈΠ²Π°Ρ Π»ΠΎΠΊΡΠΈ Π² ΡΠ·ΠΊΠΎΠΉ Π»ΠΈΠ½ΠΈΠΈ (Π²Π΄ΠΎΠ»Ρ Π³ΡΡΠ΄ΠΈ).
Π’ΡΠ΅ΡΠΈΠΉ ΡΡΠ°ΠΏ - ΡΠ°Π·Π° Β«ΠΡΠ΅ΠΊΡΠ°ΡΠ΅Π½ΠΈΠ΅Β» ΠΈΠ»ΠΈ Β«Π’Π°ΠΊΡΠΈΠΊΠ°Β». ΠΠ°ΠΊ ΡΠΎΠ»ΡΠΊΠΎ ΠΌΡ ΡΠ²ΠΈΠ΄ΠΈΠΌ, ΡΡΠΎ ΡΡΠΊΠΈ Π·Π»ΠΎΡΠΌΡΡΠ»Π΅Π½Π½ΠΈΠΊΠ° Π²ΡΠ»Π΅ΡΠ°ΡΡ, Π΄Π°Π²Π°Ρ Π½Π°ΠΌ ΡΠ΅ΡΠΊΡΡ Π»ΠΈΠ½ΠΈΡ ΡΠ΅ΠΈ ΠΈ Π³ΠΎΠ»ΠΎΠ²Ρ, ΠΌΡ Ρ Π²Π°ΡΠ°Π΅ΠΌ Π³ΠΎΠ»ΠΎΠ²Ρ ΠΈ Π΄ΠΎΡΡΠ°Π²Π»ΡΠ΅ΠΌ Π³ΠΎΠ»ΠΎΠ²Π½ΡΠ΅ ΠΎΠΊΡΡΠΊΠΈ, ΠΊΠΎΠ»Π΅Π½ΠΈ ΠΈ Π»ΠΎΠΊΡΠΈ, ΠΊΠ°ΠΊ ΠΎΠΏΠΈΡΠ°Π½ΠΎ Π²ΡΡΠ΅.
ΠΡΠ»ΠΈ Π²ΠΌΠ΅ΡΡΠΎ ΡΡΠΎΠ³ΠΎ ΠΎΠ½ ΠΏΠΎΠ΄Π½ΠΈΠΌΠ΅Ρ ΡΡΠΊΠΈ, ΡΡΠΎΠ±Ρ Π·Π°Π±Π»ΠΎΠΊΠΈΡΠΎΠ²Π°ΡΡ Π½Π°ΡΠΈΡΠΊ ΡΠ΄Π°ΡΠΎΠ², ΠΌΡ ΠΎΡΠΈΡΡΠΈΠΌ ΠΏΡΠ΅ΠΏΡΡΡΡΠ²ΠΈΠ΅, ΠΈΡΠΏΠΎΠ»ΡΠ·ΡΡ Π»ΠΈΠ±ΠΎ ΠΊΠΎΠΌΠ±ΠΈΠ½Π°ΡΠΈΡ Pak Sau, Π»ΠΈΠ±ΠΎ Pak / Lop Combination, ΠΎΠΏΠΈΡΠ°Π½Π½ΡΡ Π² ΡΡΠΎΠΉ ΡΡΠ°ΡΡΠ΅, ΠΈ, ΠΊΠ°ΠΊ ΠΈ Ρ ΠΎΡΠ²Π΅ΡΠΎΠΌ 1 Π°ΡΠ°ΠΊΡΡΡΠ΅Π³ΠΎ, ΠΌΡ Π·Π°Ρ Π²Π°ΡΡΠ²Π°Π΅ΠΌ ΡΠ΅Ρ Ρ ΠΏΠΎΠΌΠΎΡΡΡ ΠΎΡΠ²Π΅ΡΠΈΡΡ ΠΈ Π΄ΠΎΡΡΠ°Π²ΠΈΡΡ HKE.
ΠΠ°ΠΆΠ½ΠΎ ΠΎΡΠΌΠ΅ΡΠΈΡΡ, ΡΡΠΎ, Ρ ΠΎΡΡ Ρ ΡΠ΄Π΅Π»Π°Π» Π²ΡΠ΅ Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎΠ΅, ΡΡΠΎΠ±Ρ ΠΏΠΎΠ΄ΡΠΎΠ±Π½ΠΎ ΠΎΠΏΠΈΡΠ°ΡΡ ΡΠ°ΠΊΡΠΈΠΊΡ RAT, Π½Π΅Π²ΠΎΠ·ΠΌΠΎΠΆΠ½ΠΎ ΠΎΡ Π²Π°ΡΠΈΡΡ Π²ΡΠ΅ ΠΏΡΠ½ΠΊΡΡ Π² ΠΎΠ΄Π½ΠΎΠΉ ΡΡΠ°ΡΡΠ΅. Π‘ΡΡΠ΅ΡΡΠ²ΡΠ΅Ρ ΡΠ°ΠΊΠΆΠ΅ ΡΠ΅Π°Π»ΡΠ½ΠΎΡΡΡ, ΡΡΠΎ Π²Ρ Π½Π΅ ΠΌΠΎΠΆΠ΅ΡΠ΅ ΡΠΎΠ²Π΅ΡΡΠ΅Π½ΡΡΠ²ΠΎΠ²Π°ΡΡ Π½Π°Π²ΡΠΊΠΈ ΡΠ°ΠΌΠΎΡΠΎΡ ΡΠ°Π½Π΅Π½ΠΈΡ, ΠΏΡΠΎΡΡΠΎ ΠΏΡΠΎΡΠΈΡΠ°Π² ΡΡΠ°ΡΡΡ. ΠΠΎΠΆΠ°Π»ΡΠΉΡΡΠ°, Π½Π°ΠΉΠ΄ΠΈΡΠ΅ ΠΊΠ²Π°Π»ΠΈΡΠΈΡΠΈΡΠΎΠ²Π°Π½Π½ΠΎΠ³ΠΎ ΠΈΠ½ΡΡΡΡΠΊΡΠΎΡΠ° ΠΈ ΠΈΠ·ΡΡΠΈΡΠ΅ ΡΡΡ ΡΠ°ΠΊΡΠΈΠΊΡ Ρ Π½ΠΈΠΌ ΠΈΠ»ΠΈ Ρ Π½Π΅ΠΉ. ΠΡΠ΅Π³Π΄Π° Π½Π°Π΄Π΅Π²Π°ΠΉΡΠ΅ Π·Π°ΡΠΈΡΠ½ΡΡ Π·Π°ΡΠΈΡΡ Π²Π΅Π·Π΄Π΅, Π³Π΄Π΅ Π΅ΡΡΡ ΠΈΠ½ΡΡΡΡΠΊΡΠΎΡ, ΠΈΠ»ΠΈ ΡΡΠ΅Π½ΠΈΡΡΠΉΡΠ΅ΡΡ Ρ ΠΏΠ°ΡΡΠ½Π΅ΡΠΎΠΌ Π΄ΠΎΠΌΠ°.

