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Basic Kenjutsu Guidelines

Two key points to start off with:

The Katana is not a baseball bat the right hand should be positioned a few centimetres down from the Tsuba in a wide grip to provide maximum leverage over the Tsuka (handle). The knuckles of the right hand should not be touching the underside of the Tsuba, any abrasions or scratching on the knuckle of the forefinger is an indication that the Katana is being held wrong when training, The Katana is not used in one hand either as is seen in Chinese martial arts, Leverage over the sword must be maintained at all times, with the right hand positioned under the Fuchi and the left covering the Kashira. The double V guideline is useful to ensure the Katana is being held correctly and involves aligning the V shape formed between the thumb and forefinger on both of the hands when gripping the Tsuka with the knuckle and forefinger of the right hand positioned just off to the right of the Tsuka’s centreline.

The Katana should always be on the left side of the body, whether held in the left hand when sheathed or positioned in the Obi (Belt), with the curvature of the blade facing upwards and Kashira (pommel) pointing forward. The thumb or the forefinger covers the Tsuba securing it in position to avoid accidental unsheathing of the sword or it being taken by an opponent. It should also be mentioned that the Katana was always kept lying across the front of the body with the curvature of the blade facing up and the Tsuka on the right, this was done for two primary reasons, firstly as previously mentioned it was for safety and security, the weapon could be better controlled from the body’s centre of gravity.
Secondly the body’s positioning for drawing the sword whilst keeping your intentions hidden, by having the sword lying across the body in the Obi, the Tsuba can be covered with the left hand and the forefinger of the left hand used to secretly push the Tsuba forward ready to draw with the opponent unaware. Also the curvature of the blade always faces up to avoid cutting the Kogoichi and loosening the fitting on the Habaki making the sword fall out of the Saya. It also enables smoother drawing of the sword following the path of least resistance.

Nuki Uchi – Drawing The Sword To Cut With Do Kiri

When drawing the sword, slightly push out the Habaki (Blade collar) from the Saya (Sheath). Do this with either the thumb (on top) or forefinger (below) pressing discretely on the Tsuba (guard). Make sure that the thumb if it is used is not directly over the edge of the blade, otherwise there is a chance that the thumb will be cut. When drawing pull the Saya back a little past the Habaki, then draw the blade two thirds of the way out of the Saya and turn Saya horizontally for the last third, pull the Saya right back out of the way and around the body whilst cutting horizontally to the right. This will make drawing the sword considerably faster. At the same time as drawing, step forward with the right foot (or back with the left foot depending on the intended direction of travel) to lengthen the stance making it easier to ensure the blade is clear of the Kogoichi (Karps mouth – opening at the top of the Saya). It should also be mentioned that the Kissaki (point of the blade) should not travel past Tori’s shoulder when the Do Giri is performed from the draw as this is over extension and opens up the guard.

Another method of drawing the blade is to hold the Habaki (blade collar) between the thumb and index finger (the Tsuba is between the index and middle fingers). The main reason for this is to enable the Tori to draw the sword in the event that a mistake is made while drawing, or if Tori goes to draw the sword and for some reason it is already partially out of the Saya. This can sometimes happen from merely moving the body sharply if the Habaki is not properly fitted in the Kogoichi of the Saya, which can naturally occur when practicing Battojutsu for an extensive period of time with the same sword.

If the sword is to be drawn to form a Men Uchi style cut, aim for the Ukes Tsuba with the Kashira as if you were going to poke at the Tsuba. Then flip out the blade cutting down whilst still aiming at the Tsuba. This will enable Tori to cut Ukes Kote, and provides an excellent target to aim for when drawing. In a confined situation, when Tori attempts to draw he can strike Ukes hand with the Kashira prior to drawing the sword. This can assist with creating distance between Tori and Uke and can also damage Ukes hand slowing his draw or prevent him from drawing altogether.

When the blade is out make sure the right knee is bent. Then you may drop back into Kamae. Having the right knee bent is the same position as when you cut normally. It also allows you to be able to move freely in any direction or back into a Kamae. Moving straight back into a Kamae only gives you the option of being in a Kamae, nothing else.

Shomen Uchi from Daijodan No Kamae – Drawing To Cut To The Top Of Ukes Head

When you cut down do so by dropping the blade straight down with the cut. However, it is important to lift the left wrist a little, which in turn lifts the Kashira, this is done to increase the leverage over the Katana when cutting. Tori then steps forward cutting with a Shomen Uchi finishing the cut keeping the blade level with the Kissaki pointing forwards. It is important to mention that when you have cut down do not finish at this point but continue the movement of thrusting forwards with the Katana performing a Tsuki (Gikan Ryu).

Noto – Returning the sword to the Saya

Hold the mouth of the Saya (Kogoichi) in the left hand and perform Chiburi with the right bringing the sword back to the centre of the body. Step forwards with the left foot, bringing the Kogoichi of the Saya to the Mune (back of blade) just above the Habaki (blade collar). Then as you pull the blade through the thumb and forefingers step back with the left foot, this helps with the movement of the sword passing between the fingers. Once the Kissaki of the blade reaches the Kogoichi it should be placed horizontally into the Saya and then two thirds of the blade sheathed. The Saya then turns vertically so that the curvature of the Saya is facing upwards and the blade continues to be sheathed until just under the Habaki where the Saya is then pushed forwards with the thumb and all of the fingers on the left hand raising up grabbing the Tsuba. The Katana is then brought back to its original position in the Obi (belt).

Note: Grip the Kogoichi of the Saya in the left hand. The middle finger runs along the underside of the Kogoichi and the folded index finger and thumb sticks up pointing out from the Saya. Run the Katana’s Mune along the piece of skin between the thumb and forefinger. Running it between these two fingers enables you to remove any debris that may still remain on the sword once Chiburi has been performed.

No Spin Shurikenjutsu

Practising no spin knife throwing or no spin Shurikenjutsu is one of the more infuriating throwing techniques to master but is the most effective technique if you put in the hours of practice necessary.

Throwing using the no spin technique forces the throwing knife or bo Shuriken to stabilise during flight so the point is always facing the target and does not rotate. This is done by controlling the trajectory of the knife utilising a variety of factors such as:

  • Type of throwing knife or Bo Shuriken being thrown. (9″- 12″ length)
  • Distance to the target (3M, 6M, 9M / 6ft, 12ft, 18ft)
  • The way the handle of the throwing knife is held (Choking).
  • The angle of the wrist when the knife is thrown and the assistance of a supporting finger along the spine of the knife or Bo Shuriken.
  • The throwing action you use to no spin throw, this is primarily the arm movement used to generate the momentum to force the knife to the target. (Theirs a few)
  • Body positioning and posture, this is mainly with regard to the Kamae (Stance) and how to control your centre of gravity.
  • Footwork (Taisabaki) this plays a vital role in generating and controlling the momentum behind your throw so that you can effectively follow through with your throw.

So where do you start?

Its preferable to be able to throw using either the half spin or full spin technique first as this will give you a benchmark to work from to develop your no spin technique.
It would be possible to develop the no spin shurikenjutsu technique as a beginner but it would be a nightmare to take into consideration all the factors necessary to control the trajectory of the knife or Shuriken. Either way you are going to fail a lot at first, everyone does, I spent about a week just learning to control the trajectory of the larger throwing knives in comparison to the far smaller Togakure Ryu Uchi Barai Bo Shuriken i usually half spin throw.

The way i usually explain the process of throwing to a new student is to view the whole process as a cycle starting at the target, then imagine a line trailing from the target to your feet.
Check your Taisabaki (Footwork) and ensure when you step through to throw your foot is pointing towards the target, this enables the body weight to travel forwards over the knee of the leading leg, if the foot is angled it disrupts your body mechanics and musculoskeletal structure so you lose momentum which produces a weak throw. Ken Tai Ichi Jo is important when practising Shurikenjutsu, the body and weapon are used as one in a singular harmonious movement.

The line then travels up from the feet to the knees, keep them bent and control your centre of gravity, You don’t want your hips to raise up as you step through to throw but instead need to keep a stable foundation otherwise your accuracy will be affected by the jump caused by your movement. This could be likened somewhat to the Taisabaki found in Ichimonji No Kata from the Kihon Koshi Sanpo.

The line then travels up to your abdomen so you check your Kamae (Posture/Stance). Make sure that your spine is straight when you throw and your not slouching into it, this changes your distancing to the target and will once again affect you accuracy. Concentrate on the crown of your head and raising it high this will help you to straighten your spine without consciously trying to keep the whole of your back straight.

The line then travels up to the arms and the student aims with the left hand assuming Ichimonji No Kamae. Try to think of using the left hand somewhat like an iron sight on a rifle, your left hand is the mohawk sight and your shoulders the rear sights, when you line your shoulders up with the left hand in the middle of your chest the right hand naturally wants to follow the same path when it falls to maintain balance during the transition in your movement or you will fall to one side as you step through.
Its all about a careful balance of several key factors that lead to successful no spin throwing technique.

The final stage in the cycle is the line travelling down the arm and propelling the throwing knife or Bo Shuriken at the target.

This is where it gets a bit complicated! Their are a huge variety of techniques used by various no spin throwing practitioners not just Shurikenjutsuka (Shurikenjutsu Students), I will outline the two main throwing techniques I use but its important to keep an open mind with no spin as the only way to really gain proficiency in the art is test what’s best for you, their is no definitive BEST technique just amazing no spin practitioners.

We will start with the traditional no spin Shurikenjutsu technique first. When throwing using this technique its important to almost lock the wrist back on the throwing hand at approximately 45 degrees and position the Bo Shuriken between the fore and index fingers supported by the thumb with the point protruding from the fingers. When you step through to throw the Shuriken you bring the hand straight down at speed controlling the trajectory of the Shuriken with the fore and index fingers as it leaves the throwing hand, this should almost feel like your brushing the back of the Shuriken. If you have performed the technique correctly it should feel like the Shuriken just slips out of the hand and flys straight towards the target to stick in, Its important to mention that its not about force but Ken Tai Ichi Jo (Using the body and weapon as one), if you force the throw it will effect the trajectory and cause the Shuriken to rotate or spin and bounce off of the target.

As you become more proficient throwing in this way you wont even need to hold the Bo Shuriken in place with the thumb (Although you should for safety), Its simply a process of positioning the Bo Shuriken in the hand and stepping through to let it slip out of the hand as you throw.

Tsutsumi Hozan Ryu Shuriken

The second no spin throwing technique is done by bending the wrist forwards as you raise the knife into Dokko No Kamae and then throwing the knife by snapping the hand back and propelling the blade forward into a straight no spin throw as you step through. This technique is difficult to explain but is very similar to the technique used by IKATT practitioners. The snapping action of the wrist over the shoulder as the knife is thrown forces the blade to fly straight at the target somewhat like an arrow rather than judging the trajectory over a set distance.

I personally think this is the best technique for no spin throwing but its also the most difficult to be consistent with as your margin for error is incredibly narrow, You also can’t physically use a point of reference like your left hand to aim when throwing, you develop accuracy through practice and gap throwing.

The trick with no spin throwing is to keep at it! Don’t give up! Its incredibly difficult at first, you may well throw 200+ times and not stick a single no spin throw for days but it will happen.

One of my students recently said that learning no spin throwing has been incredibly difficult but the point when he started to realise how to do it was when he stopped thinking about what he was doing or how he was throwing and just listened to what his body what telling him.

This is the key to no spin throwing, its instinct backed up with legitimate technique.

No spin throwing is often referred to as “Black Magic” amongst members of KATTA (The Knife And Tomahawk Throwing Association) because its a feeling within the throw when everything clicks into place and you know before the knife has hit the target that it was a successful throw

https://rugbyninjutsu.co.uk/wp-content/uploads/2018/05/img_1719.mov

 

The KATTA way of no spin throwing is very similar to the technique i outlined previously used by IKATT except you bring the throwing knife around and behind your head to generate enough momentum to control the trajectory of the knife when you throw.

As previously stated the only way to really understand no spin is to feel it in your technique when you throw, so get practising!

Safe range set up should always be observed regardless of where you are training, this also enables you to designate a safe area to play with various distances when no spin throwing. Use a guide rope, planks or peg markers to mark out set throwing distances such as 1M, 2M, 3M, 4M and 5M and then once you can throw comfortably at 5M increase accordingly. I’ve heard of people accurately no spin throwing at competitions up to a distance of 19 metres!

When you start playing with distancing and accuracy choking the throwing knives will have to be taken into consideration. Choking is basically holding the throwing knife at a specific point on the handle to enable increased control over the trajectory of the knife over longer distances. Some throwing knives come with markers known as choke points that are little indentations at approximately 1cm spacings along the spine of the handle. If you find that your knives are slightly tipping forward when hitting the target but not sticking in, you adjust your hand positioning down one choke point and this should compensate for slight tip, sticking the knife straight into the target.

This is something that has to be experimented with as it largely depends on the type of knives you are throwing and will differ according to shape and geometry. Bo Shuriken don’t have any choke points unless they are custom made.

In conclusion successful no spin throwing technique is developed through continuous practice, the throwing knife or Bo Shuriken doesn’t do the work but you do as the Shurikenjutsu practitioner.

Knife and Shuriken length does however have a significant impact on the distancing, It’s easier to no spin throw Bo Shuriken and Throwing Knives between 9″ – 12″ in length. This is largely due to the increased weight enabling the Knife or Shuriken to develop more velocity once thrown towards the target and the increased length makes it easier to control the trajectory during flight.

If your throwing smaller throwing knives or Bo Shuriken approximately 4″-8″ then the distancing changes again, you need to be closer to the target, throw a lot harder and have far less room to choke the Shuriken.

Personally i tend to use the smaller throwing knives and Bo Shuriken for half spin throwing and the larger Bo Shuriken and throwing knives for no spin throwing.

Koga Ryu Tantogata

Togakure Ryu Uchi Barai

Nihontō 日本刀

One of the more confusing subjects you are likely to encounter as a Japanese martial arts practitioner is the topic of Katana (Samurai Swords) and Iaito (Blunt Samurai Sword). With such a vast array of different blade types, forging processes, fittings, Tsukamaki types, Koshirae, Sageo types and then the terms for each individual part of the Katana it can quickly seem like a nightmare to understand.

In this article i am going to endeavour to make understanding the world of Katana a little easier by breaking everything down into easy to understand sections. So where do you start?

The first thing to point out is why we use the term Nihontō 日本刀, Nihonto is a more general term for all Japanese Swords, literally Nihon 日本 (Japanese) To 刀 (Swords). The Nihonto most commonly seen used by martial arts practitioners today are the Katana (Long Sword), Wakizashi (Short Sword) and Tanto (Dagger) but their are a huge variety of Japanese Nihonto, some that date back to the Kofun period (250 – 538 AD). The most commonly associated Nihonto are the Tachi with their distinctive curved blades which date back to the Heian period (794 – 1185, the period is named after the capital city of Heian-Kyo modern day Kyoto). The Katana was actually a later evolution of the Tachi although it is commonly viewed as the most iconic Nihonto of them all.

Let’s take a more in depth look at all of the Nihonto variations as many of them have specific functions and battlefield applications aside from their historical significance.

All Nihonto are constructed in roughly the same way, All have a Tsuka (Handle), Ken (Blade), Habaki (Ferrule) and Saya (Sheath). The diagram below will help you to familiarise yourself with the specific terminology used for each part of the Nihonto.

The Koshirae are ornamental aesthetic fittings used to decorate the Nihonto and comprise of a Tsuba (Handguard), Seppa (Spacers) Fuchi (Handle Collar), Menuki (Handle Ornaments), Tsuka Ito (Handle Wrapping) and Kashira (Pommel). These were often relevant to the Bushi (Warrior) and were designed with their clans Kamon (Crest), favourite animals, Kami (Gods), Oni (Demons) and anything else that may have been relevant to that individual. The sword was viewed of as the soul of the Samurai and as such would be presented in a way which represented this fact, It was often the single most valuable item the Samurai owned.

The variety of Nihonto available are as follows.

  • Chokuto 直刀 – A straight single edged sword most commonly found in the Kofun period prior to the 10th Century. Chokuto were forged in a simple manner somewhat similar to a machete without differential clay tempering or folding of the steel. Their is some speculation that the Chokuto is actually the precursor to the Ninjato (Ninja Sword) depicted in Ninja movies and popular culture however it is generally considered that the straight bladed Ninjato was never actually used by the Shinobi of the Sengoku Jidai period (1467-1603) who would have favoured the Shinobigatana (Shorter Ninja Katana) or standard Katana obtained from fallen opponents on the battlefield or by some other method.
  • Tsurugi/Ken 剣 – A straight double edged broadsword that was produced mainly prior to the 10th century without folding or differentially clay tempering the blades. Tsurugi are considered to be divine swords and are often used now by Shinto Priests during ceremonies. The Tsurugi is so old in fact that no techniques recorded on animal skins or bamboo slithers on its usage have survived the passage of time however it is still considered to be of significant importance with the Tachi and Katana as the illustrate the historical evolution of the Japanese nation.
  • Tachi 太刀 – A large curved sword designed to be worn with the curvature (Sori) of the blade facing downwards when hanging from the Obi (Belt). The Tachi often had a longer blade with a more pronounced Sori starting at the Nakago (Tang) or the centre of the blade, This provided a far more efficient cutting edge by comparison to the earlier Chokuto and Tsurugi due to the smaller area of cutting space creating far more pounds of pressure per square inch on contact with the target enabling the Tachi to cleave through it with far less resistance. The Tachi was mainly worn suspended from the Samurais belt (Obi) on his armour (Yoroi) and this served a very practical purpose, the plates of armour surrounding the wrist made it almost impossible to draw the Tachi in the same fashion that you see most modern Kenjutsu practitioners drawing their Katana today, with the curvature (Sori) facing upwards when worn directly through the practitioners Obi. The Tachi was mainly popular up until the 15th century when forging processes improved the need for more practical swords arose.
  • Uchigatana 打刀 – The Uchigatana was the evolution of the Tachi in the 15th century, unlike the Tachi the Uchigatana was worn with the curvature (Sori) facing upwards. During the Muromachi Period (1336-1573) the use of the Uchigatana became widespread in Japan, although generally the Uchigatana was only used by low ranking Ashigaru. Uchigatana when translated means “Sword to strike with”. It was during the Momoyama period (1573 – 1600) that the Tachi was almost completely abandoned by the higher ranking Samurai and replaced with a set of Daisho, a set of long and short Uchigatana which became the dominant symbol of the Samurai class. The Momoyama period was during the final stages of the Sengoku Jidai (Age of warring states period) when the Tokugawa Shogunate unified Japan. No early examples of the Uchigatana have survived to this day as initially they were considered disposable and were not forged to a high standard.
  • Katate Uchigatana 片手打ち – A shorter single handed variant of the Uchigatana developed in the 16th century, The precursor to the Wakizashi. Usually called A Shoto when worn with Daito forming the Daisho two sword set of Uchigatana.
  • Katana 刀 – The Katana was the evolution of the Uchigatana and was the sword of the Samurai class during the Edo period (1600 – 1900). The Katana can be forged in a variety of styles with different cross sections and geometric specifications, some of which are famous historical treasures such as the Bizen Osafune and Soshu Kitae blades produced by the famous Katana Kaji (Swordsmith) Masamune. The general specifications for a Katana are a blade over the length of 60cm with a shallower curvature (Sori) than the Tachi, however the blade length was not limited to any length in particular but it is rare to find a katana over 80cm in length. The Katana was always worn through the Obi (Belt) with Sori facing upwards in the same way as the Uchigatana, This enabled the Katana to be drawn and a cut to be performed in one single simultaneous motion.
  • Wakizashi 脇差 – The Wakizashi was the companion sword to the Katana in much the same way as the Katate Uchigatana / Shoto was the companion sword to the Uchigatana / Daito to form the Daisho pairing. The Wakizashi was always worn with the curvature facing upwards in the Obi and is generally between one and two Shaku in length (30cm – 60cm). The Wakizashi was also the only sword that was allowed to be worn by anyone other that the ruling Samurai class and was predominantly produced during the 1600’s.
  • Kodachi 小太刀 – A smaller variant of the Tachi mostly found before the 13th century. It was exactly the same as the Tachi in every way just with everything scaled down, a Tachi precursor to the Katate Uchigatana and Wakizashi. The Kodachi has the same pronounced Sori from the Nakago as the and translates as “little big sword”.
  • Ōdachi 大太刀 – A battlefield variant of the Tachi measuring at over 100cm which translates as “Great Sword/ Big Sword”, Sometimes referred to as Nodachi “Battlefield Sword” due to its intended application. The Odachi was mainly produced during the 14th century and they were used to dismount charging enemy cavalry by cutting the legs off of the horse. Their are obvious practical drawbacks to the Odachi due to its length which make it near impossible for an individual swordsman to draw at any speed and very heavy to use. This meant that often Samurai would carry them tied to their backs using Tasuki (Sleeve ties) or Sageo (Saya Cord) and have the swordsman next to them draw their Odachi whilst they drew out the Odachi on their back forming a similar stance (Kamae) to a Tori Gate. Sasaki Kojirō 佐々木 小次郎 was a master swordsman renowned for his use of the Nodachi (1585 – 1612) from Fukui prefecture.
  • Nagamaki 長巻 – The Nagamaki (Long Wrapping) is a form of Nihonto which has an extremely long Tsuka (Handle) measuring 26.75 inches with a blade at a 24 inches making the Nagamaki 54 inches in length when mounted in full Koshirae. The blade of the Nagamaki is similar to a Tachi or Katana but with and extended Nakago (Tang) at a length of 20 inches and it was used by the samurai class of gradual Japan. The exact origins of the Nagamaki are hard to determine but it is most likely that they were first produced during the Kamakura period (1192 – 1333) as their are no known examples before this period and then reached their peak of usage during the Muromachi period (1336 – 1573). Although the blade type was important they were somewhat interchangeable and could be forged in different Kitae (laminating methods) and blade geometry’s, By definition the primary aspect of the Nagamaki was the distinctive long Tsukamaki wrapped handle. Nagamaki were often used by Sohei (Warrior Monks) as well as the Samurai classes.
  • Naginata 薙刀 – The Naginata was a traditional polearm used by the Samurai which comprised of a long wooden shaft with a short sword (Wakizashi) attached to one end and is the signature weapon of the Onna-Bugeisha a form a female nobility who were warriors trained to use the Naginata. The weapon was not just exclusively used by the Onna-Bugeisha but the Samurai, Ashigaru and Sohei Warrior Monks as well. It’s important to explain that their were several variations of Naginata but most distinctively the O-Naginata used by the Samurai and Sohei and the Ko-Naginata used by the Onna-Bugeisha, This was to compensate for the difference between the Onna-Bugeisha and armour (Yoroi) wearing Samurai. The Naginata is an extremely effective weapon with exceptional cutting capability so it was often an essential part of any warriors arsenal.
  • Yari 槍 – The Yari is a traditional Japanese spear that comes in a wide variety of different blade types, The most common being the Su Yari (Straight Spear) measuring roughly one Shaku (30cm) in length but other variations include the Jumonji Yari (Cross Spear), Sankaku Yari (Triangle Spear), Ryo-Shinogi Yari (Diamond spear), Fukuro Yari (Socket Spear), Kikuchi Yari (Single Edged Yari), Yajiri Nari Yari (Spade Spear), Jogekama Yari (Alternating Cross Spear), Karigata Yari (Downward Cross Spear), Gyaku Yari (Cross Horn Yari), Kama Yari (Sickle Spear), Kata Kama Yari (One Sided Sickle Spear), Tsuki Nari Yari (Moon Shaped Spear), Kagi Yari (Hook Spear), The list is endless. The art of spear fighting is called Sojutsu in Japan and is extremely extensive.
  • Tanto 短刀 – A Tanto (Short Sword) is a form of Nihonto that was essential for every Samurai and date back to the Heian period. The Tanto was a single edged dagger mainly designed for slashing and stabbing with a blade ranging in length between 15 – 30cm. The Tanto was mounted in full Koshirae and was generally used for close quarters combat or as a last resort when disarmed and are often used now to practice Tantojutsu (Knife Fighting). Their are a huge variety of blade geometries available for Tanto such as Shinogi Zukiri (Common Tanto), Kanmuri Otoshi Zukiri (Thin Tip Tanto), Unokubi Zukiri (Cranes Neck), Kissaki-Muroha (Double Edged). Often the two Tanto you are most likely to encounter are the Shinogi Zukiri Tanto and Shinogi Zukiri Aikuchi, The Aikuchi is simply a Tanto without a prominent Tsuba usually used to stab in between plates in Yoroi (Armour).

Another important factor to consider is that traditional Japanese Nihonto production in divided into time periods:

  • Jōkotō 上古刀 “ancient swords” around 900 A.D.
  • Kotō 古刀”Old Swords” 900–1596
  • Shintō 新刀 “New Swords” 1596–1780
  • Shinshintō 新々刀 “New New Swords” 1781–1876
  • Gendaitō 現代刀 “Modern Swords” 1876–1945
  • Shinsakutō 新作刀 “Newly Made Swords” 1953–present

The second major factor to consider is the forging and laminating process used to produce your Nihonto, Contrary to popular belief owning an antique Daisho set used by a 16th century Samurai doesn’t necessarily guarantee that you’ll own the best quality Nihonto available, in fact its highly unlikely unless they are historical treasures, In which case they should be on display in a museum not used for martial arts practice.

The fact is the overall quality of traditional Japanese Tamahagane (Iron Ore) isn’t great quality which necessitated the development of enhanced forging processes to create high quality Nihonto that were resilient yet flexible. This was achieved by laminating layers of steel with varying carbon purity levels into cross sections called Kitae. The varying gradient of steel meant that hard, medium and soft steels could be laminated into layers that provided the blade with the hard sharp cutting edge needed to cut efficiently while providing the softer steel needed for the blade to flex and not shatter if impacted.

The diagram provided below demonstrates how the blades are constructed conforming to traditional laminating methods know as Kitae which form a pattern when viewing a cross section of the blade.

When looking at buying Nihonto online you will often see numbers like 1045, 1065, 1095 but what does that mean exactly? These numbers are indications to the steels carbon purity levels or to put it another way how soft or hard the blades are, the general guideline is the higher the carbon purity level the stronger the steel is.

This becomes more complicated when you start looking at swords forged in certain Kitae however. 1045 carbon steel, 1065 carbon steel and 1095 are all Maru Kitae (Single Steel) and when you begin to progress past them you will start seeing blades forged in Kobuse Kitae (Hard Case, Soft Core) and Gomai Kitae (Hard spine, Soft Core, Hard Case) which are forged using the traditional methods used by the Samurai themselves.

Generally 1065 and 1095 Maru Kitae blades are good for martial arts provided that they aren’t being used for cutting practice (Tameshigiri) on hard targets, 1095 Carbon Steel Maru Kitae blades are perfect for cutting mats with a bamboo core.1045 Carbon Steel is usually used in decorative display Katana and wall hangers so it’s not advisable to use a Maru Kitae blade forged from 1045 Carbon Steel as that’s not its intended purpose and it will likely bend or warp the blade.

It should be mentioned that live Shinken (Sharp) Katana should never be used in the dojo in any other situation than when practicing Tameshigiri (Test cutting on mats) or Sumnogiri (Test cutting on free standing targets) and this is only ever demonstrated by experienced martial arts practitioners. Most of the time Bokken (Wooden Swords) are what you should train with inside and outside the dojo except in the case of Iaido where Iaito (Blunt blades) are used.

Accidents can and do happen when training with live bladed Shinken Nihonto so it’s important to treat them with the respect they command.

My third and final point to consider is the Koshirae you mount onto your Katana.

When you first buy a new Nihonto its in pristine condition and then within the first few hours of trying out your new sword you will catch the Saya on something and dent it, or perhaps drop the sword itself damaging the edges of the Koshirae on the Tsuka. This is unfortunate but inevitable and one thing that surprised me when i first started building Nihonto was that people would see this as ruining their sword because they had damaged it in some way, A sword is intended to be trained with unless it is being kept as an heirloom in which case it shouldn’t be used in the first place. The Saya and Koshirae are replaceable on your Nihonto but for some reason people assume Nihonto shouldn’t be capable of incurring any form of damage and once any damage is done then the sword needs replacing entirely.

This just simply isn’t the case, it was common practice, as mentioned previously, for the Samurai to customise and change their Katanas Koshirae in a way that was representative of the things they held dear. When you buy a new Nihonto the most important factor to consider is blade quality, everything else is replaceable, usually a replacement blade would be kept mounted in Shirasaya 白鞘 (White Scabbard) which are simple plain wooden fittings used primarily for storage over prolonged periods of time and for protection of the blade.

Keeping a Nihonto mounted in Koshirae for extended periods of time is actually detrimental to the blade as it allows condensation and moisture to build up inside the Saya which over time will cause the blade to rust.

Shirasaya 白鞘 were traditionally made from Nurizaya wood and were very simple fittings consisting of a Saya, Tsuka, Mekugi and the Nihonto itself so when the Samurai knew his Katana would not be used for a while or needed repairing he would remove the original Koshirae and mount the blade in Shirasaya until it was needed again. Shirasaya were never intended to be used as a standalone Nihonto in their own right but they often get mixed up with the Shikomizue (Stick Swords) commonly seen used by the Ninja.

Try to view your Nihonto as something that should be built upon and personalised, it’s often difficult for any Kenjutsu (Sword Art) practitioner to buy the sword that feels right for them, that’s because often you need to strip it back to its base and build it to the specifications that suit your needs.

Now obviously thats not quite as easy as it sounds as it takes a long time to learn and develop the skills necessary to build Nihonto but their are a number of services available that for a reasonable fee will undertake any repairs and customise your Katana for you to your specifications. Everything is replaceable on your Katana so its easy enough to source replacement parts such as Saya, Tsuba, Fuchi, Kashira, Menuki, Habaki, Sageo, etc. Please feel free to contact us at www.ningu.co.uk

You should also consider the intended use for your Nihonto, you don’t train with live bladed weapons in the Dojo so often only high ranking martial arts practitioner invest significant sums of money into their Katana as they have the skill needed train with an expensive blade without the fear of writing it off entirely. You should never train with Shinken Katana if your a beginner, ever, its far to dangerous, stick with Bokken until you are proficient in your art enough to train with Iaito and then finally Shinken Nihonto.

In conclusion use common sense, Nihonto are extremely dangerous and expensive, treat them with respect, its your responsibility as the owner to conduct yourself in a safe and respectful manner or otherwise you will inevitably seriously injure yourself or somebody else.

In my next article I will take an in depth look at Tsukamaki (Handle wrapping) styles for Nihonto.

Dead Ninja Lineages

A question that we commonly get asked in the Bujinkan is about the legitimacy of other Ninjutsu Ryuha (Schools) and for good reason, if you type in Ninjutsu into YouTube you will usually be presented with a veritable freak show of sword wielding idiots and weirdos all claiming association to long dead Ryuha that have been documented as ceasing to exist in historical record.

The problem with this is that often these people have absolutely no martial arts experience of any variety and are wielding lethal live bladed (Shinken) Katana around unwitting would be Ninjutsu students with little or no regard for how much damage their assumed mastery of the martial arts will cause. People can and do get seriously injured and killed because some idiot watched to much Naruto or Bleach and decided he’s a Ninja master. What’s worse is that these people then market their stupidity and get others to buy into these shambolic organisations giving themselves totally unrelated and vague instructor titles taken from other non Ninjutsu related arts such as Kyoushi or Senpai.

A prime example of this is Fuma Ryu Ninjutsu UK.

Other examples of this are Koga Ryu Ninjutsu, Hagakure Ryu Ninjutsu, Budo Ryu, Natori Ryu in its modern variation, Ashida Kims Ninjutsu, The list is quite literally endless of fake Ninjutsu Ryu. This is exactly what causes the confusion about Ninjutsu lineages as so many wannabes claim to be Ninja but in reality their are very few Ryuha that have actually survived to this day.

Their are a few telltale indicators that give away if a school claiming to teach Ninjutsu is fake, number one is the name of the Ryuha, Number two is what are they teaching, if it isn’t technical in its approach and doesn’t make coherent sense then its probably fake, If it looks like Karate or Tae Kwon Do it definitely isn’t Ninjutsu.

Ask yourself do they have a legitimate venue, are they insured, do they have links to a legitimate governing body, do they have links with masters in Japan, do they train in Japan, do they teach children, if so, do they have a safe guarding policy and are the instructors CRB checked.

If they say they were taught by their neighbour who was a little Japanese Ninja Master until he said his number one student should pass on his newly acquired Ninja mastery to the world, then thats the storyline of an 80’s movie called Blood Sport with Jean Claude Van Damme. Do you really want to be placing you life in the hands of an instructor who’s martial arts experience is watching a Tae Kwon Do based action movie at some point in their life?!

As ever use common sense and check the source of whatever style you are endeavouring to learn, Who is the grandmaster? Who is it exactly that you are aspiring to learn from and what knowledge do they have to impart in reality. If they are called Black Scorpion Ryu Ninjutsu or Black Dragon Ryu then use common sense, I mean really?! Do they sound legitimate?! They haven’t even tried to come up with a decent name!

To try and help clarify the situation i have provided a list of all of the Ryuha known to no longer be in existence as verified by historical record.

  • Nakagawa Ryu Ninjutsu was based in Aomori Prefecture. Organised by Nakagawa Kohayato.
  • Haguro Ryu Ninjutsu was based in Yamagawa Prefecture and was said to have been developed by the warrior ascetics of Haguro Mountain.
  • Uesugi Ryu Ninjutsu was established for Uesugi Kenshin as a military espionage organisation by Usami Suruganokami Sadayuki in Niigata Prefecture.
  • Kaji Ryu Ninjutsu was founded by Kaji Ominokami Kagehide, A student of the founder of Uesugi Ryu but was also linked to the roots of Iga’s Hattori Ryu Ninjutsu.
  • Matsumoto Ryu Ninjutsu was based in Tochigi Prefecture.
  • Matsuda Ryu Ninjutsu was based in Ibaraki Prefecture.
  • Koyo Ryu, Ninko Ryu and Takeda Ryu Ninjutsu were all founded by Takeda Shinken for intelligence gathering and used wandering monks and merchants as agents.
  • Fuma Ninpo / Fuma Ryu Ninjutsu based in Kanagawa Prefecture was established by Fuma Kotaro and specialised in guerrilla warfare.
  • Akiba Ryu and Ichizen Ryu Ninjutsu based in Aichi Prefecture were established by Hachisuka Koroku Masakatsu who was a famous ninja from this area.
  • Mino Ryu Ninjutsu based in Gifu Prefecture was developed during the rule of Saito Dosan and included the Kurokawa Ninja group of Koga.
  • Echizen Ryu Ninjutsu was established in Toyama Prefecture by Iga Ninja fleeing the attack of Oda Nobunaga.
  • Yoshitsune Ryu Ninjutsu based in Fukui Prefecture was developed for Yoshitsune Minamoto as a blend of espionage methods taught by Ise Saburo and yamabushi teachings.
  • Koga Ryu Ninjutsu was a regional tradition made up of over fifty families.
  • Iga Ryu Ninjutsu was a regional tradition made up of several key families, most notably the Hattori and Momochi Clans.
  • Negoro Ryu founded by Suginobo Myosan, firearms master, Saiga Ryu were firearms and explosives specialists, Natori Ryu, founded by Natori Sanjuro Masatake the author of the Sho Nin Ki reference book and Kishu Ryu Ninjutsu were all based in Wakayama Prefecture.
  • Bizen Ryu Ninjutsu was based in Okayama Prefecture.
  • Fukushima Ryu Ninjutsu transmitted by Nojirijiro Jirouemon Narimasa was based in Shimane Prefecture.
  • Kuroda Ryu Ninjutsu was based in Fukuoka Prefecture in support of the Kuroda family government.
  • Nanban Ryu Ninjutsu Was based in Nagasaki Prefecture.
  • Satsuma Ninpo was based in Kagoshima Prefecture in support of the Shimazu family government.

In reality the vast majority of Ninjutsu Ryuha died out prior to the Meiji restoration in 1868 and couldn’t possibly exist today.

Which brings me to Natori Ryu, whilst it is true that information has been translated and published this school cannot possibly be revived in a way that would be recognisable as the original Natori Ryu Ninjutsu. This dead Ryuha is being paraded around and used as a scapegoat to advocate people with no actual or limited martial art experience to teach something losely based on Ninjutsu. The fact is the so called Natori Ryu instructors i have seen to this day have been nothing short of an absolute liability to the martial arts community overseen by a martial arts researcher, who could never actually demonstrate any of the techniques he is publishing and promoting to unstable individuals. It is a bad joke in the martial arts community and should be avoided at all costs, just another buy your own black belt course. Quite frankly I would even go as far to say that the organisation is dangerous. A vivid memory of a so called Natori Ryu Ninjutsu master going postal on homemade cardboard judgemental targets with a homemade Yari (kitchen knife tied to a broom handle) comes to mind and why the hell anyone would mistake that for a legitimate martial art is beyond me.

You need a good instructor with a thorough understanding of the art, That takes years of dedicated practice, you need to really understand why you are practicing whatever technique you are performing. How does it effect the opponent? Is it breaking their structure? You need to understand the Kuden (Concept) and Gokui (Secret) behind the technique and that cannot be learnt from a book alone.

Be careful who you invest your time studying under as when it really comes down to it do you want to hold a rank and own a nice looking belt or be able to survive an attack. Don’t serve someone’s ego placing them on a pedestal, any instructor worth learning from will respect you far more for asking “why?”, If they don’t then ask yourself why that is exactly?

It’s our job as Shidoshi-Ho, Shidoshi and Shihan to guide you on the right path and help you make discoveries and learn along the way, after all we have been their ourselves at some point, we have to lead by example. If your instructor can’t then once again, ask yourself why?

In conclusion don’t be drawn in by fakes and fraudsters, do your research before training in any art, it will save you a lot of time and a lot of money!

*Ryuha list sourced from Legacy Of The Night Warrior by Stephen K Hayes.

Nagare Manji Hira Shuriken

Nagare Manji aren’t associated with any traditional Ryuha that i can find, They appear to be produced in a reverse swazstika (Manji) design with long flowing (Nagare) points. The points have an almost Kissaki like geometric tip that forms a sharp edge.

The Swazstika although associated with the Nazis during World War Two is actually a holy and auspicious symbol in Japan and throughout Asia. It’s commonly used by Japanese schools girls putting them in their hair taking photos on Instagram and is the word Manji is used somewhat like the word “Cheese” when taking photos. The word can be used in a variety of ways in the Japanese language such as to appear strong or high class or even as a sarcastic “Really?!” Or. “Seriously?!”.

The Manji has been closely linked to Buddhism for thousand of years before the Nazis adopted the symbol. The Japanese call the Nazi variation “Haaikenkuroitsu” ハーケンクロイツ

The specifications for the Nagare Manji Shuriken are as follows:

Length: 11.5cm
Width: 11.5cm
Thickness: 4mm
Type: Swazstika (Manji)
Material: Tool Steel/Tempered Steel

My overall opinion of Nagare Manji Hira Shuriken is they are ok, They are perfectly functional Shuriken if thrown with the curvature of the Shuriken facing away from the target so that the points hook into the target. If thrown the other way around with the curvature facing the target they tend to bounce off without doing any noticeable damage.

The Nagare Manji have to be thrown quite hard to get them to penetrate the target properly when practicing so I would say they are an intermediate level Hira Shuriken in comparison to some of the Juji Shuriken from specific Ryuha (Schools).

I do like the Nagare Manji but if I’m honest, they aren’t my favourite Hira Shuriken, They have a solid construction, they are quite heavy, they are robust and will take a lot of punishment but they just refuse to stick in the target 99% of the time. They just aren’t reliable enough to be used as an effective weapon in the Ninjas arsenal.

Trying to get 3 to stick in succession feels like a really labour intensive task by attempting to force the Shuriken to rotate enough to stick in the target, it’s not easy! Which makes me wonder if they would be effective in reality? Maybe you would give Uke a concussion or a nasty scratch.

In conclusion the Nagare Manji look the part but fall a bit short of when it comes to functionality, They will stick in the target but it doesn’t feel natural throwing them, I think a lot of that could be solved by sharpening and honing the arms down into a fine edge but then that could compromise the overall structure of the Shuriken.

The Nagare Manji is a good addition to any Shurikenjutsu practitioners collection but not essential, fun if your looking for something more challenging to practice with but their are better Hira Shuriken available.

Togakure Ryu Senban Hira Shuriken

The specifications for the Togakure Ryu Senban are as follows:

Length: 11cm
Width: 11cm
Thickness: 2mm
Type: Diamond
Material: Tool Steel/Tempered Steel

The Togakure Ryu Senban Hira Shuriken is one of the Togakure Ryu trinity of Shuriken along with the Togakure Ryu Uchi Barai Bo Shuriken and the Togakure Ryu Ita Ken.

The Togakure Ryu Senban Hira Shuriken is an iconic image in just about every book ever written or DVD produced about Togakure Ryu Ninjutsu and Bujinkan Budo Taijutsu.

It is the single most common Shuriken you are likely to encounter when training in the Bujinkan and is usually the first Shuriken you learn to throw.

As Hira Shuriken they are fairly effective, have good penetration on the target, good overall weight and are fairly accurate but they aren’t particularly spectacular either.

The issue is mainly in the design as the elongated sides of the Togakure Ryu Senban mean that it is somewhat prone to bouncing off of harder targets like wood when thrown horizontally. It very much depends on what you expect from a Shuriken however, if your intention is to get the points to penetrate deep into the target each time you throw then Togakure Ryu Senban Hira Shuriken aren’t really the right tool for the job.

Traditionally the Togakure Ryu Senban was used as a tool for psychological misdirection more that a devastating weapon and the larger geometry of the Shuriken enabled it to be used as a hook or Teppan (plate) to aid with Taijutsu techniques. The wider inwardly curved edges of the Togakure Ryu Senban would also cause larger lacerations and cuts to the opponent when striking hard area of the body and face before bouncing off and being lost in undergrowth and bushes.

The overall balance of the Togakure Ryu Senban is excellent when thrown as it has a wide surface area making it very aerodynamic.

In conclusion the Togakure Ryu Senban is an essential Shuriken for any Bujinkan practitioner learning Shurikenjutsu but they take practice to master properly and develop accuracy. They aren’t really designed to penetrate deeply into the target so its advisable to use softer targets or to throw with additional momentum using Ken Tai Ichi Jo (Using the body and weapon as one).

Similar varieties of the Togakure Ryu Senban Hira Shuriken exist is other schools such as Kukishinden Ryu Senban which have a fine edge and Shosho Ryu Senban which are similar to Teppan (Solid metal plates). Shosho Ryu is better known for its Jujutsu which is currently in its 68th Genration, an example of Shosho Ryu Senban is provided below.

Kobori Ryu Happogata Hira Shuriken

Kobori Ryu Happogata Hira Shuriken roughly translates as the Kobori Schools Eight Pointed Hira Shuriken and they are extremely effective. The eight sharp protruding points almost guarantee that the Shuriken will penetrate the target regardless of how it is thrown although obviously all Shuriken should be thrown utilising proper technique.

The specifications for the Kobori Ryu Happogata are as follows:

Length: 9cm
Width: 9cm
Thickness: 2mm
Type: Happogata – 8 pointed star
Material: Tool Steel/Tempered Steel

The Kobori Ryu Happogata comes from the Kobori Ryu Tosuijutsu school which is primarily focused on Suijutsu (Classical combat swimming and warfare). After doing a bit of research the original Densho of Kobori Ryu Tosuijutsu is actually owned by a private collector who purchased it from an online auction sight after it was lost for 96 years after their most prominent teacher Saruki Muneyasu died on the 5th of October 1912.

Overall the Kobori Ryu Happogata are extremely effective but their is a little room for improvement, They are quite light Hira Shuriken being only 2mm thick so increasing the thickness would provide these Shuriken with substantially improved penetration on the target.

The additional weight would enable the Kobori Ryu Happogata to build up more velocity when travelling to the target after being thrown and considering the tips are not sharpened, you need the additional velocity for them to stick effectively into the target.

In conclusion Kobori Ryu Hira Shuriken are an intermediate level Shuriken, they are extremely effective but you do need a certain degree of skill to control them effectively to be accurate, its definitely a case of using Ken Tai Ichi Jo to propel them directly at the target. They are brilliant for throwing multiple Hira Shuriken at once, I believe this is due to the decreased surface area of the Kobori Ryu Happogata not causing air pressure to separate the individual Hira Shuriken until a later stage in their trajectory toward the target.

A brilliant addition to any Shurikenjutsu practitioners collection although to be accurate with them its good to have developed some proficiency beforehand as they are lighter than some of the other Shuriken.

They will work if you just launch them at the target but thats kind of missing the point of what we are doing when training entirely.

Togakure Ryu Uchi Barai Bo Shuriken

Togakure Ryu Uchi Barai Bo Shuriken Specifications:

Length: 16cm
Width: 6mm
Thickness: 6mm
Type: Tapered Bo Shuriken
Material: Tool Steel/Tempered Steel

The Togakure Ryu Uchi Barai is one of the traditional Shuriken of the Togakure Ryu Ninja. Somewhat similar in design to the Katori Shinto Ryu Shuriken the Togakure Ryu Uchi Barai is tapered down to a needle shaped tip and has a slight taper at the rear of the Shuriken.

The Togakure Ryu Uchi Barai Bo Shuriken is one of the 3 fundamental Togakure Ryu Shuriken of the Bujinkan which includes the Togakure Ryu Senban Hira Shuriken and the Togakure Ryu Ita Ken. These Shuriken should be the primary focus initially of any student of Bujinkan Budo Taijutsu who is studying Shurikenjutsu.

The Togakure Ryu Uchi Barai are extremely effective Shuriken somewhat like throwing oversized needles into the target, They are well balanced and robust overall although somewhat prone to bending with repeated usage.

The sharp geometric pyramid shaped tips of these Shuriken are deceptive as they don’t feel as sharp as the Meifu Shinkage Ryu Bo Shuriken but the overall design of the Uchi Barai means their is less resistance upon penetration of the target.

Definitely an essential Shuriken for any Shurikenjutsu practitioner and should be the first Bo Shuriken of any Bujinkan Budoka.

Meifu Shinkage Ryu Bo Shuriken

Meifu Shinkage Ryu 明府真影流 Bo Shuriken are very robust with a strong geometric needle sharp tip and are probably the best Bo Shuriken available.

Meifu Shinkage Ryu is a modern school of Shurikenjutsu founded by Chikatoshi Someya in the 1970’s. Someya was a student of Katori Shinto Ryu although the throwing style of Meifu Shinkage Ryu is different.

The current Soke of Meifu Shinkage Ryu is Yasuyuki Otsuka who runs an organisation of around 200 international students and Keiko which focus specifically on teaching Shurikenjutsu.

The specifications for Meifu Shinkage Ryu Shuriken are as follows:

Length: 15cm
Width: 6mm
Thickness: 6mm
Type: Bo Shuriken (Spike)
Material: Tool Steel/Tempered Steel

Meifu Shinkage Ryu Bo Shuriken are excellent overall, the increased length make no spin throwing significantly easier which is the main focus of the Meifu Shinkage Ryu Shurikenjutsu.

They can take a lot of punishment without sustaining much damage from practicing with them, the only down side is that sometimes the tips can bend if thrown too hard due to the increased weight of the shaft.

In conclusion Meifu Shinkage Ryu Bo Shuriken are an essential addition to any shurikenjutsu practitioners collection and are arguably the best Bo Shuriken available.

Iga Ryu Daimatsuba

Iga Ryu Daimatsuba are one of my personal favourites, They are the perfect compromise between Bo and Hira Shuriken in a single projectile weapon.

The Iga Ryu Ninja are quite possibly the most famous Ninja of all time and are one of only a few ninja lineages that have survived to this day. The Iga Ueno Ninja museum is based in Iga Ueno, Mie prefecture where they celebrate an annual Ninja festival and host regular theatrical displays and demonstrations.

Iga Ryu Daimatsuba translates into the Iga School Pine Needle but they are also affectionately known as “Swallow Tail” Shuriken due to their shape.

The Iga and Koga Ryu schools were born out of warfare during the Onin War in which they honed their guerilla warfare and weapons skills into the art that formed Ninjutsu. The history of Iga Ryu Ninjutsu is a very extensive subject that closely links to the formation of the Bansenshukai and its different variations. The original Bansenshukai that forms the basis for Togakure Ryu Ninjutsu was in fact compiled by an Iga Ryu Ninja, Fujibayashi Sabuji in 1676 for the Tokugawa Shogunate.

Fujibayashi himself is quite a mystery as Fujibayashi Sabuji, Fujibayashi Nagato and Momochi Sandayu could all be the same person.

The specifications for Iga Ryu Daimatsuba are as follows:

Length: 12cm
Width: 4.5cm at Tail
Thickness: 3mm
Type: Daimatsuba – Pine Needle
Material: Tool Steel/Tempered Steel

When I initially encountered the Iga Ryu Daimatsuba I had heard a lot of mixed opinions about their effectiveness as Shuriken, Some people hated them, Some people said they wern’t really Shuriken and others loved them.

Once I managed to get my hands on some Daimatsuba, I started training with them and absolutely loved them! I think the issue is if you view them as Hira Shuriken then they are somewhat like ineffective Sankou Shuriken, they should definitely be used in the same manner as Bo Shuriken.

Personally I find Iga Ryu Daimatsuba to be well balanced, to have very good penetration on the target and to be very stable during flight. It’s actually difficult not to layer these Shuriken on top of each other when thrown as they just seem to fly directly to the target in the same way an extremely well balanced throwing knife would like an Arrow HD.

In conclusion if being a Ninja was based on your choice of Shuriken, I’d definitely be an Iga Ryu Ninja, They know how to produce very good Shuriken! Possibly the best variety of Shuriken I’ve ever had the pleasure of practicing with!