How to Sanjuro's Final STAND-OFF Strike 

Check out "Kuroda" on YT. Okami seems like a toddler in comparison!

Would highly recommend getting some training with someone who can point out your mistakes at some point otherwise you're just going to cement yourself in your bad habits no man is an island every man has bad habits

I guess you've already seen the original "Zatoichi flash-cut", where he slice a sake pot in half, lengthwise, and whithout modern technology we can't even see the blade in action.

Why ? Just interested in what drives others to learn these draws. No disrespect.

Don't think I would trust myself practising this with a shinken! :)

@@johncartwright8154 The key is Veeery carefully! :) Knock on wood.. I havent managed to cut myself yet. But, I'm still young. :)

anyone knows where to get those stunt katana? it's called takemitsu but I can't find anything in English about them. thanks.

@@narusawa74 Actually, I wasn't aware of them until recently. Kozure Okami takes on a whole new perspective.. Unfortunatly...

I remember reading that everyone who uses a shinken will one day bear the mark of its sharpness. 2 years later I did, my technique improved greatly after that.

You have a good point but maybe this can answer your question ( this may or may not be the answer ) in the first moments of the video , we see a small movie scene . The guy comes forward that wants to supposedly rob mr.samurai ( can think of his name 💀) at the same exact moment when the robber pulls out his weapon and lunges forward , mr.samurai does that move . I believe the move is all about adding force , allowing the enemies body to add weighted contact , and then finally with the force and the weight against the blade ..he glides past his enemies side , thus gliding the blade right against the opponents abdomen. It’s kinda like quickly slicing your finger with a paper cut , there was no force ..no push ..just a quick clean glide with a fine edge

@@roowanmadokkusu1411 Maybe. I like to think you are right until I try it myself. (Katana pawned as of now)

@@roowanmadokkusu1411 Still, I found ATJ's statement to stand. If you look at the weak point of the draw, it would have to be the wrist muscles at the top of the right hand where the hand is joined with the wrist. This is the weakest and most vulnerable part of the hand. If the blade were to meat an object of strong resistance, the musculature at this weakest part of the wrist could and most definitely injure the right hand and possibly cause a life threatening forfeiture of maneuverability of the right hand when returning to the two handed standard grip.

I have to disagree that this technique couldn't cut. Actually miming the movement, even without a katana (I say, only if you do not have access to one. It is more readily apparent when you are holding one) the cutting force is derived precisely from the rotation of your hips, the rotation created between your guiding hand and the wrist of your drawing hand, and the movement of your opponent and yourself in opposition. TLDR: The mechanics of the strike are such that the force comes from your mantis-strike right hand, the force is absorbed by your body, and the actual cutting motion comes from the forward movement of your step and the rotation of your body to the right as you strike, and your arms rotate during extension. The force of the strike comes entirely from the guiding hand, similar to half-swording in hema. There are a number of katana performances that I've seen which employ a hand on the mune of the katana (the non-cutting edge), but I am unaware or unable to immediately locate any authentic techniques that use the method at the moment. That said, it's not a completely illogical practice. If you practice with a katana, you will observe that during a cut, the right hand provides guidance and the left hand on the lower part of the tsuka (the handle) provides the power. This is because you are using your two hands on the handle to create a lever action, with your right hand functioning as fulcrum (the thing that the lever pivots around). This is where the katana derives its power if all of the rest of your body is perfectly still. If you do this, though, without moving the rest of your body, you will realize that there is no slice to your cut. You are moving the blade in a circle around a stationary point, and the blade will strike the target with a 'slap' more than a 'slice.' Do not misunderstand: you are wielding a two-handed sword, with a considerably sharp blade and a reasonable heft to it. Swinging a katana like an axe (which is fundamentally what you're doing in such an instance) is /going/ to cut something. However, much like an axe, your blade will push into the target and probably bury itself before it goes too far. If you want to believe that this will not cut something, then I ask you to perform a mental exercise --completely mental, please. Please do not attempt anything like this, ever-- Imagine yourself placing your katana on the ground, holding it by the tip of the blade, standing on the handle, ready to topple over to the ground. Now, lean it over and place your hand on the floor below the blade. Now ask yourself: Would you feel comfortable dropping that blade on your hand? The visceral reaction is "No, of course not." Well, that is your brain identifying that the blade of the katana under its own power is enough to remove your fingers. If at any point you imagine that a katana cannot cut something merely because it is not slicing, imagine either an axe (which is similarly forward-heavy to a katana, albeit moreso) or a falling katana landing flat on its edge, and remember that you do not need good technique to cut with blade, you merely need a blade. Good technique can compensate for a poor blade, but a good blade doesn't even need you there to do its job. One of the things katana practioners hear a lot is that the blade is almost alive. That what is happening when you are holding a katana is that you are merely learning how to allow the katana to do its own job. The blade will self-align in the absence of a wielder. Mini-Katana did a pretty cool demonstration of this on RU-vid not terribly long ago. The blade will cut without even having you hold it. You are not, some people say, using the katana, instead it is using you. Placing a hand on the mune of the katana extends the lever that you are using to add power to the strike. Normally, the lever action is between your hands on the handle. Now, the lever action is extended over a foot or more, which increases the power magnification inherent in a lever. (A longer lever will lift a heavier load than a shorter one, given the same force.) So you are able to apply more force to the strike, which, as we talked about a short while back, can definitely cause damage on its own. But that is thinking of this attack in a completely isolated way. We are not sitting on a stool, slapping a katana against a target. Our entire body is in motion. We must close the distance to our opponent, we must angle our body away from their incoming strike, and we must pivot our upper body to ensure our proper draw and to be able to place our hands in proper position. Everything from your feet to your head must be moving in order to make this motion. For an example of just how subtle motions like this can drastically affect cutting ability, one needs look no further than a school of swordsmanship that has been made popular by films such as this and by anime and media the world over: iaijutsu/iaido/battojutsu/battodo. This strike is a form of draw-strike or 'nukiuchi.' The word simply means to draw and strike the opponent with the same motion. In some schools it is more apparently a two-motion strike which utilizes both hands, and in other schools and often in media it is often seen as a one-handed strike, much like Kenshin Himura's signature strike in Rurouni Kenshin or Zatoichi's flash-cut. Regardless of the method, the draw-strike is a fast but often weak strike. Many schools use draw strikes as a distractionary measure, or a technique to control their opponent, striking at the eyes or the face, in an effort to force the opponent back to gain an advantage over them or to disable them. When used as a method of controlling your opponent, a draw-strike is referred to as 'nukitsuke,' with 'nukiuchi' being used for techniques intended to actually end your opponent rather than to create openings or opportunities. That long point said short, the difficulty of performing a nukitsuke 'controlling' strike is in the speed and precision required to get your sword to where it needs to go, knowing that it doesn't take much force to cut through someone's face or eyes, and the blade will do that on its own, merely by being brought to flesh. The difficulty of a nukiuchi 'finishing' strike, is being able to generate enough cutting force with such a short motion that you are able to inflict a deep enough wound to incapacitate or disarm your opponent. It takes very nearly no force at all to cut through an opponent's face, and many people are put off the idea of fighting when they have lost their face in the first few seconds of combat. To cut through an opponent's torso or a limb, it takes a combination of force and technique. The more technique you have, the less force you need, although with enough force, you wouldn't require any technique at all. A katana welded to the side of a car would easily cut someone in half, despite being completely still in reference to rotation. Tameshigiri (mat-cutting) is a powerful example of this spectrum of force vs technique. You can very easily see when someone cuts a mat using force, and when one cuts the mat using technique, merely by the way the fibers stand and the way the cut is made after the mat is examined. A more physically powerful person can cut a mat with less practice, but a more technically skilled person can cut a mat with more precision, and with less effort. Truly masterful tameshigiri practitioners will often describe how they merely allow the blade to pass through the target, almost effortlessly, merely by using their body and aligning their blades correctly. Ignoring the effects of your body on your swordsmanship is a mistake that many people make in the beginnings of their practice. But if you were to approach someone who has practiced with katana for many years, they would universally implore you to focus on the movements of your body more than the power of your hands. They would, almost to a man, recommend mat-cutting or mindful kata to lifting weights, because they would understand that technique trumps power almost every time. This is all to say that as you lean forward to deliver this strike, you flex your core, and bend your knees. Your feet begin to angle upward (the opposite of going tippy-toe) as you bend your knees. Your right arm is brought back into an almost mantis-like position, ready to push the mune forward. This movement is not mindless. Try the movement of the right arm with your palm against your imaginary or physical blade, and then try it with the back of your hand, in the mantis-styled push. The body mechanics of the mantis-push allow more direct engagement of your chest and the tricep, but it also allows for a more lateral motion, in line with the ground, and -especially when hunched forward- prevent a tension that would be created inbetween your right shoulderblade and the ribs on your right side. It is merely more ergonomic, and thus more fluid.

@@Alyxandeyr That's your prorogative.

No detail on the footwork. The body is doing 25% of the work.