TEXT:  
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  The 
  INVISIBLE 
  FIST 
   
  Secret Ninja Techniques of 
  Vanishing Without A Trace 
   
   
   
   
   
   
   
   
  copyright © 1998 Ashida Kim  
  All rights reserved. No part of the book may be reproduced in any form whatsoever 
  without written permission of the Author and Publisher except by newspaper or magazine 
  reviews who wish to quote brief passages in connection for review. Books may be 
  purchased in bulk at wholesale discounts for sales promotion, fund-raising, or educational 
  purposes. Special editions can be created to specifications. Editorial, sales and 
  distribution, rights and permissions inquiries should be addressed to: 
   
  DOJO Press 
  P.O. Box 209 Lake Alfred, FL 33850 USA 
  AshidaKim.com   DojoPress.com 
   
  ISBN 0-8065-2018-3 
  
   
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  “I cannot describe to you the indescribable, but I can teach you several by no 
  means inconsiderable arts- invisibility, flying without wings, invulnerability to sword or 
  serpent’s fang- you know, that kind of thing.  
  “Here then is your syllabus of study. Seeking the mysterious portal, you must first 
  provide yourself with the wherewithal to bribe the guards and render yourself invisible 
  that you may slip through unnoticed. That sort of thing is not mastered in a day.  
  “Next you will have to learn to fly henceforth to the courts of Heaven, make your 
  way to the central chamber, surprise Lord Lao at breakfast, snatch up his flask of golden 
  elixir, slay those who will come running to rescue it, break down the walls of the sky-
  castle and return to Earth an immortal! A man of your determination has but to follow my 
  course of instruction to be certain of success.”  
   
   
  From the Nei Pien of Ko Hung, an ancient treatise  
  on alchemy, medicine and religion 320.A.D. 
   
   
   
   
   
   
   
   
   
   
  
   
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  Contents 
   
   
  Preface 
   
   
   
   
   
   
   
  5 
   
  Introduction: Invisibility as an Art 
   
   
   
   
  8 
   
  The BOOK OF EARTH 
   
   
   
   
   
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  “Grain of Sand in Eye Can Hide Mountain…” 
   
  The BOOK OF WATER 
   
   
   
   
   
  31 
  “The Pool of the Subconscious…”   
   
   
  The BOOK OF FIRE  
   
   
   
   
   
  44 
  “Fire Breathing Dragon Technique…” 
   
   
  The BOOK OF AIR  
   
   
   
   
   
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  “The Sword of the Mind…”  
   
   
   
  The BOOK OF WOOD 
   
   
   
   
   
  76 
  “Power to Cloud Men’s Minds…” 
   
   
   
  Collector’s History 
   
   
   
   
   
   
  94 
   
   
   
   
   
   
   
   
   
   
   
  DOJO Press 
   
   
   
   
  
   
  5
   
   
  Preface 
   
   
  Looked for, cannot be seen. Listened for, cannot be heard. Felt for, cannot be 
  touched. The Invisible Fist gives no warning, nor can it be stopped. You cannot hide from 
  it, nor can you escape it. Why is this so? 
   
  Any decent self-defense class can teach one to draw up his courage in the face of 
  danger, the better to execute one all-out, totally committed, do-or-die technique. This 
  usually results in the mutually assured destruction of both combatants. 
   
  To strike the opponent without being struck in return is the essence of Boxing. 
  Some martial arts teach that a punch must be so swift and return so quickly that it is faster 
  than the human eye can follow as a method of being considered “invisible” 
   
  If the body can move faster than the eye, however, it can also react faster. The old 
  magicians claim that the “hand is quicker than the eye” applies equally to defender and 
  attacker. So, no matter how fast you are, no matter how many hours or years you may 
  have spent training to react to an attack with an appropriate block, you still cannot block 
  or hit what you cannot see. Thus, the true Invisible Fist would also be one that strikes 
  from an unexpected angle. It gives no warning and cannot be deflected. One cannot hide 
  from it because those who have the secret do not go around showing it off. If it is 
  encountered, it is due to one’s own bad karma in looking for a fight with a master. 
   
  Nor can one escape the wrath of the Invisible Fist, since it is brought upon oneself 
  by bad conduct. In this way, those who would commit evil attract the very forces that will 
  mete out appropriate justice to them. The Invisible Fist is merely one such tool. 
   
  That is why, at certain periods in history, those who practiced this art were known 
  as the Black Dragon Tong of Retribution. Not because they went around like Robin 
  Hood, “righting wrongs and punishing evil doers,” But because they were simple humble 
  people who were often mistaken for victims. If they could not escape, they were, and are 
  today, quite capable of destroying any attacker in order to survive. Also being humble, 
  knowing that the taking of a life does no one honor, they would accept no credit for such 
  acts. They obeyed the ancient Samurai injunction to have the “power to kill and walk 
  away” without any explanation being required long before it was instituted for that social 
  class. This is because the followers of this Way are so inoffensive that at one time the 
  founders thought themselves in such harmony with nature that they would limit the 
  number of footsteps they made each day so as not to disturb the Earth with their presence. 
  The rule is: First, do no harm; Second, never make a challenge; Third, never turn down a 
  real challenge. 
   
  Bullies, muggers, rapists and the like often have a long history of crimes, violent 
  or otherwise. So, when a criminal is found dead, it is frequently taken for granted that 
  some old enemy must have caught up with him and extracted some measure of revenge. 
  For surely, only one as brutal, ruthless and deadly as the villain himself could have 
  overcome him.  
   
  This, however, is not necessarily so. What of the kind? The weak? The aged? Are 
  they to have no defense except Force, which they are often ill inclined or unable to 
  employ with enough skill or strength to be effective? Should they be armed, even with 
  
   
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  non-violent types of weaponry, which can be taken away and used by an attacker? 
  Making a weapon as dangerous to the user as for the victim? Or, should they simply 
  resign themselves to being sheep, preyed upon by the more aggressive and assertive 
  wolves, fleeced and butchered at the whim of those less worthy, who contribute nothing 
  to the welfare of the tribe and, in fact, greatly contribute to its downfall by their 
  inappropriate behavior? No, they need not.   
   
  “What a piece of work is man…” asked Shakespeare in his classic play Hamlet. 
  “In peace how noble and temperate, in war how terrifying…” All warfare is a matter of 
  will. It is not the technique, the style, nor even the philosophy of the defender that 
  determines the outcome. It is his Will that gives him the stamina to continue until the 
  opponent is exhausted and defeated. 
   
  When martial arts such as Karate, Kung Fu, and so on were first introduced to 
  America, two claims were made about them; that anyone could overcome any attacker 
  and could do so without physical contact.  
  Regardless of size, age, or infirmity, one need never again fear assault, because 
  these fighting systems made it possible to control a fight long before it began, and, if the 
  initiative was lost due to surprise attack, take it back from even a ferocious and 
  aggressive enemy. BUT, all required the user to stand and fight. 
  Ninjitsu, the Invisible Fist, is the ONLY martial art that is not about fighting. It is 
  about running away and hiding. It is about good health and longevity. It is about patience, 
  because all true masters know that living well is the best revenge. Thus, it is by 
  explaining the method whereby the promises made by those who would commercialize it 
  are fulfilled. 
  All martial arts and their philosophies agree that the greatest warrior is the one 
  who wins without fighting. In the classic martial arts film Enter the Dragon, the late 
  Bruce Lee illustrated this principle when he confronted a brutish bully’s challenge. He 
  told this lout that his own style was the “art of fighting without fighting.” But, he would 
  need more room than the small ship they were on to demonstrate it properly. He thus 
  enticed the bully to board a small boat so they could go to a nearby island. Once the bully 
  was in the lifeboat, Lee simply slipped the mooring line free and held him at his mercy by 
  threatening to set him adrift in the turbulent seas. He had won without throwing a single 
  punch. He had outwitted his opponent; fighting without fighting. 
   
  In the television series Hanto Yo, about the American Cheyenne Indian tribe. The 
  mystic-warrior, the only one who dared ride a white horse into battle, the “shirt-man” and 
  hero and beloved of the tribe, was the most adept at leading the enemy forces deep into 
  the forest and away from his fleeing people. He single-handedly defeated the enemy by 
  letting them wear themselves out chasing him. Once, when he fought on the plains, an 
  eclipse took place while he was charging alone toward an attacking tribe- an example of 
  synchronicity, harmony with the Universe. Just as playing hide-and-seek in the forest is 
  an example of invisibility. This “mystic” occurrence so upset and terrified the opposing 
  tribe that the battle was never fought and the war was called off. Yet, to be such a 
  fearsome warrior, Hanto Yo spoke always of peace and harmony among the “human 
  beings” as the Cheyenne tribe was known to call itself. 
   
  The Shaolin monks of ancient China were also known for their serenity and love 
  of peace, even though they were trained to “fight like ten tigers.” They saw it as their 
  duty to defend China from foreign invaders. To that end, they launched the Boxer 
  
   
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  Rebellion in 1900. The members of the White Lotus Sect practiced ritualistic magic as a 
  part of their traditional boxing art and placed such faith in their use of Iron Body Kung 
  Fu that many believed themselves impervious even to bullets. They have long been 
  recognized as masters of the martial arts and at the core of their study is breath control, 
  non-violence, and self-knowledge. In fact, part of their credo reads, “When faced with 
  imminent peril of life and limb, make no show of force. Rather, one should run away than 
  fight.” 
   
  Only when flight is no longer possible may one use Force to establish, maintain, 
  or restore order. Even then, it is taught to “avoid rather than check; check rather than 
  block; block rather than strike; strike rather than hurt; hurt rather than maim; maim rather 
  than kill; kill rather than be killed. For all life is precious, nor can any be replaced.” 
   
  The monks were each trained in a particular animal system of fighting depending 
  on their body type and disposition, but all were taught meditation and the art of acting 
  invisibly. These are the source of their great internal strength and the basis of their 
  amazing powers. Through a series of tests and trials that were ritualized into a rite of 
  passage into manhood they became mystic-warriors who could fight or disappear. The 
  technique, however, was ancient long before it was incorporated into the Japanese 
  Shinobi-ryu systems.  
  One of the earliest known tribes of ancient China was called the Jain. They were 
  the greatest hunters and warriors of their era and are even spoken of highly by the famous 
  anthropologist Joseph Campbell in his works on arcane religions. They were possessed of 
  one great secret: they knew enough to build a fire and walk through the smoke to remove 
  the scent of man from themselves before venturing into the woods for a hunt. Upon this 
  ritual they based an entire philosophy of invisibility. They were Brothers of the Smoke 
  and, like many later arts, ritualized the secrets of their clan into ceremonies. This 
  included walking on hot coals, fire eating, smoking the pipe, and such philosophical 
  concepts as being so in harmony with Nature that no force of man could harm them. They 
  may yet exist. As the Invisible People, who can say from whence they came of if they 
  have ever left or even if they are still among us. 
   
  What we do have of them is this system of fighting techniques divided into five 
  elemental categories. In olden days it might take half a lifetime to master a single Shaolin 
  system of fighting. The Invisible Fist is so simple it can be learned in a day. It is, without 
  doubt, the single most effective self-defense form known to man. Just one of these basic 
  techniques can make you the equal of any mugger, or even a well-trained martial artist. 
  Now you too can be one of the few, the proud, the Ninja, masters of the Invisible Fist. 
   
   
   
   
   
   
   
   
   
   
   
  
   
  8
   
   
   
  INTRODUCTION:  
  Invisibility as an Art 
   
   
   
  Ninjitsu, contrary to popular belief, is not a system of unarmed combat or mastery 
  of an array of martial arts weapons. It is not about fighting at all, it is about 
  INVISIBILITY… 
   
  Every other martial art teaches that, “It is better to run away from a fight than to 
  battle and have to injure someone.” Then they spend the next two years teaching the 
  student how to stand and fight. Ninjitsu teaches you how to prevail over even the most 
  ferocious foe without physical contact and simply escape, leaving him alone in 
  frustration. 
   
  When Book of the Ninja was published in 1980, it stated, “There is no magical 
  technique to render oneself unseeable to the human eye.” The basis for this being that all 
  the Ninja methods of vanishing in front of the enemy rely on simple principles of 
  ordinary stage magic, rather than mystic incantations. 
   
  Such techniques, however, do exist and can be learned through a series of specific 
  exercises and tests devised by the venerable masters of the Pole Star School, circa 6000 
  B.C. recognized in China as the most ancient school of martial arts known to man. 
  Furthermore, these methods are reserved only for those beyond the initiate or adept level 
  of training. 
   
  The nature of those who teach the Secret Doctrine is to deny that it exists until all 
  other methods have been studied, exhausted, and found lacking. Only then, when the 
  student persists in his belief that there is more magic than simple tricks and mumbo-
  jumbo, only when he is ready to believe, only when he wonders what it all means instead 
  of how it is done, THEN the secret is revealed. 
   
  These techniques are the basis for the Japanese Art of Invisibility known as 
  Ninjitsu, the Silent Way. In them you will find many bits and pieces of others styles and 
  systems. After all, there are only so many kicks, punches, throws takedowns and so on. 
  What differentiates one style from another is little more than a matter of hard or soft 
  presentation and a focus on a particular sort of technique, a variety of combinations, 
  poetic or military nomenclature, and strategy. All teach essentially the same lessons and 
  all are part of the warrior quest. All possess some part of the Great Secret of Warriorship, 
  because there are only five elements in combat and the same principles apply to the art of 
  vanishing. Only the intent is different. 
   
  This set of techniques is but one of many. There is nothing new in magic, only 
  new presentations of the same basic physical and chemical properties that have amused, 
  entertained and amazed man for centuries.  
   
  There are nine methods of the Black Dragon School given here. Derived from the 
  Eight Mystic Trigrams that form the basis for the I Ching, the Chinese Book of Changes. 
  These are divided into Five Elements, which is the foundation of Chinese medicine from 
  
   
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  antiquity to the present. The dragon represents mystical power. The adjunctive black 
  indicates that it is a hidden, closed, or concealed system. 
   
  There are others who have pursued and employed the techniques of invisibility. 
  The Rosicrucians, the followers of Gnosticism, the Kahuna, wizards, witches, and 
  shamen throughout the ages have sought this mystical ability. Some vanish by 
  rearranging the physical structure of their corporeal being so that light may pass 
  unhindered through them. Thus, they become invisible. Some disassemble themselves in 
  an instant and reform elsewhere, safely out of harm’s way. Then there are those who 
  bend the very rays of light itself around themselves to form a shimmering cloud of 
  obscurity that hides them from view. Finally, there are those with the power to place the 
  idea of invisibility into the mind of the observer so that he refuses to see that which is 
  clearly before his eyes. This is the Dragon Method of “clouding men’s minds,’ and one 
  means whereby practical invisibility may be achieved. 
   
  To that end, here are assembled the various techniques used by the Black Dragon 
  Ninja for making an attacker blink, hesitate, flinch, turn away, or otherwise distract him 
  from he who wishes to become in invisible; including methods that temporarily or 
  permanently blind an opponent. Absent are the various tricks of remaining invisible, like 
  hiding, and the methods of striking from ambush, which is a way of winning any conflict 
  in a single devastating blow. These are considerations to be taken into account once 
  invisibility has been achieved and are dealt with in other publications. 
   
  The concern of this text is the ability to disappear. The Art of Invisibility is 
  divided into Five Elements: camouflage, concealment, cover, appearing, and vanishing. 
  These equate quite nicely with the traditional Five Elements of Chinese medicine and 
  philosophy, on which many martial arts are also based. It is a simple and effective 
  method of categorizing a variety of techniques into easily defined groups so they can be 
  remembered. This also allows for the inclusion of new techniques as they are developed 
  or discovered. Thus, the system remains consistent and traditional, yet still dynamic and 
  evolving.  
   
  This method also makes it possible to compare systems that may, at first, seem 
  widely disparate. The Five Elements can be mnemonically recalled at any time by using 
  the fingers.  
   
   
  Earth is the little or pinky finger 
   
  Water is the ring or third finger 
   
  Fire is the middle finger 
   
  Air is the index finger 
  Wood is represented by the thumb. 
   
   
  Each represents a state of matter- solid, liquid, gaseous; and a type of energy- 
  linear, circular, or spiral. Thus, even though such primitive systems are usually 
  discredited by modern scientists as being merely examples of allegorical reasoning, such 
  classification to illustrate the interaction of physical and chemical properties altogether 
  avoids the issue of whether matter and energy are two dissimilar states of being or are 
  interchangeable. A question that has plagued modern scientific minds for decades.  
   
  To the ancients, such a question was meaningless. It was not important whether 
  matter can be created or energy destroyed. What is important is how things interact. Nor 
  
   
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  were the ancients prone, as is so often the case in recorded history, to try to discover how 
  things worked by dissecting them. Instead, they merely observed and noted cause and 
  effect, and developed what today are called hypothetical constructs that could be tested 
  and validated like modern laboratory experiments. The old ones called these “patterns,” 
  and had no need for vast, complicated texts to explain them. They had only a few simple 
  “laws” that covered them all.  
   
  In keeping with the Five Element symbolism, this text is divided into five 
  sections. This is the traditional way of presenting such material, on a scroll or scrolls, 
  sometimes known as tori-maki, meaning “sacred writings.” Miyamoto Musashi used this 
  device in his famous text on feudal Japanese swordsmanship The Book of Five Rings. In 
  the Hai Lung Ryu (Black Dragon School) there are many such arcane manuscripts, 
  usually categorized by the element they are said to represent. Each of the Five Elements 
  interacts with the others, just as their symbolic names imply, and so represent the endless 
  cycle of growth, change, and rebirth. Each also represents what modern scientists would 
  call a state of matter. 
   
  For ages it was believed that matter existed in one of three states and that matter 
  and energy could not be created or destroyed. This may well be true, but, what does it tell 
  us about how these states interact? The old Ninja Five Element Formula explains it all 
  and includes even more than had been previously “discovered,” such as the plasma 
  energy level. 
  Earth is the most solid form of matter. It has weight and occupies space. Water is 
  the liquid state of matter. The particles are not so tightly packed nor bound together in a 
  shape. Air is the next most gaseous type of matter in which the particles are even more 
  widely dispersed. Fire represents the plasma state of matter, a level of transition between 
  what are called matter and energy only recently discovered by atomic science. Wood 
  describes the three types of motion, linear, circular and spiral, in which these particles 
  and their manifestations may engage; electromagnetic vibratory force acting in a circular 
  motion about a linear axis. This is the Force. 
   
  So, everything is covered. From matter to non-matter and all degrees of vibratory 
  existence and excitement in between, which determine the level of perception upon 
  which they exist.  
   
  We who have studied and practice these arts have no fear they will be learned by 
  anyone with criminal intent or deviant moral fiber. Such persons do not have the patience 
  to advance slowly, step by step, through the long process of study and may even attempt 
  advanced techniques without proper preparation or precaution, leading only to their 
  demise. One cannot learn how to be a “fire-breathing dragon” without first learning how 
  to breathe properly. And all war, indeed all life, is a matter of breath control.  
   
  This course of study is arranged in logical order for self-instruction. Each lesson 
  is a building block for the next. We have found that when one studies in this manner, one 
  advances at his own rate and level of interest and must actively participate in the course. 
  When one undertakes such an inner journey, one often returns “changed”- not in the 
  sense that he is possessed of some new magical power, but rather that his level of 
  spirituality and understanding have been raised and he has gained a new appreciation of 
  life; and others will perceive this in your new demeanor.  
   
  Invisibility is a power man has strived for throughout the ages. Like flying, 
  levitation, precognition, telepathy, healing and speaking with those who have passed on, 
  
   
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  it has fascinated and intrigued the great minds of sages, alchemists, and yogis as an 
  expression of the ability to become so still you can see the workings of the universe and 
  defend oneself through non-violence. After all, it takes two to make a fight. If only one is 
  present, then he must eventually see that all anger is directed at the Self alone, by the Self 
  alone. Frustration at the acts of others is a manifestation of ego, a projecting of one’s own 
  faults onto others. Likewise, all wounds are ultimately self-inflicted.  
   
  No one can see the future accurately. Only general trends, reflected by the 
  Heavens or the seasons, give any real semblance of precognition. So, to anticipate the 
  outcome of any future event is necessarily to build up an expectation that is unattainable. 
  Regardless of whether we expect doom or gloom or roses or rainbows, the actual 
  outcome of any event is never exactly as we had hoped or feared. Thus, humankind has 
  for eons set itself up for endless disappointment and frustration. 
   
  Expect nothing! Judge nothing! Each morning, like a scholar at his first class, 
  prepare a blank mind upon which the day may write. With this single act you can change 
  the world. Or, at least your perception of it. 
   
  Most psychologists would agree that the perception of reality, either as a glorious 
  world full of hope and opportunity or a dark and sinister place where virtue is often 
  crushed by greed, is largely a matter of perspective, and have devised some clever tests to 
  illustrate to their patients the fallacy of their thinking. One example being, “Is the glass 
  half full or half empty?” The pessimist sees the glass half empty, perceiving only what 
  has been lost or consumed. The optimist sees the glass half full, observing what remains.  
   
  The correct answer for a sage, or a Ninja, would be that the glass is too big for the 
  amount of water it is intended to contain. Not a “smart-aleck” answer at all, although it 
  might be seen as such by a researcher “expecting’ one of the two answers he provided. 
  Instead, what it illustrates is that the patient is capable of thinking, of reasoning, of seeing 
  more than just two outcomes. Such is the purpose of such Buddhist koans- to make the 
  student think! So, modern psychiatry has not invented anything new with this “test,” and, 
  in fact, as given in the above example, is not even aware of how to use the technique 
  properly. 
   
  How much easier must it be then, for a martial art to lose sight of its past, its 
  objectives, even its principles, if it remains only static, unchanging and limited. Ninjitsu 
  is translated from the Japanese to mean, “the Silent Way.” This is because those who 
  practice it do not go about bragging of it to others, or even trying to share it with them, 
  until such time as they themselves may ask. The Invisible Fist is not a “secret society.” It 
  is, however, a society with secrets. 
   
  Keep that thought before you as you study these techniques. Many of which are 
  revealed here for the first time. Some are used by stage magicians even today. Others 
  have strategic and tactical considerations. Some are pure fantasy. That is also part of what 
  must be learned- that the historical martial trilogy of mind, body and spirit, like so many 
  other things in the world, are merely symbols, code words for simple basic, ideas, 
  crammed and distorted by the classical mess of rigid “traditionalism” that restricts normal 
  growth and evolution. 
   
  Mind is memory, spirit is imagination, and body is touch; the test of Reality 
  created by mind and spirit. Hallucinations can be seen, but not touched. Voices can be 
  heard, but not touched. Tangible, repeatable, empirical experimental evidence is the only 
  test of Reality on this Plane of Existence. 
  
   
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  Remember that the human being is possessed of an automatic defense mechanism 
  known clinically as the “fight-or-flight” adrenalin response. This is also seen in Nature 
  and is a well documented fact. At this moment, we shall begin to associate this physio-
  chemical phenomenon that endows the body with tremendous strength, heightened 
  awareness and lightning reflexes, toward the task of becoming invisible. In so doing, we 
  assume responsibility for our actions and conscious control of the defensive aspect of this 
  response and so we can program it with a type of behavior that has been proven through 
  the centuries to be highly effective.  
   
  The “adrenal pump” is activated by fear. And, when one experiments with fear 
  one must be prepared for the consequences. The “dark side” of the Self is always ready to 
  engulf those who would use such power for personal gain or self- aggrandizement. But, it 
  is only by making the inner journey, bathing in the pool of the subconscious and gazing 
  into the mirrored, reflected image of the “dark self” or shadow” that true understanding is 
  possible. Therefore, do not step lightly upon the Moonlit Path of the Silent Way, for it 
  will change your life. It is a road to self-knowledge and through that, knowledge of 
  others. It is an inner Vision Quest, a puzzle wrapped in a mystery, surrounded by an 
  enigma or our own creation. But, it can be done; and, is well worth the effort. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
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  The Book of 
  EARTH 
   
  “Grain of sand in eye can hide mountain…” 
   
  -Sidney Toler as Charlie Chan, 1937 
   
   
  The first duty of any martial art worth its salt is to provide its students with an 
  adequate means of self-defense. Most schools spend years helping students develop the 
  skills and moral outlook necessary for real competence in fighting. We begin, however, 
  with a simple and effective technique that can be used by anyone, with no practice 
  whatsoever.  
   
  Probably the most ancient technique for disabling an enemy is blinding him, 
  temporarily or permanently. Perhaps the tactic that best serves to illustrate this point is 
  the art of throwing dirt in the eyes of an opponent. In motion pictures this is sometimes 
  done by the villain and is considered to be an unfair or dirty trick- but, what is more 
  unfair than being beaten to death? 
   
  In fact this method probably developed when a smaller combatant was thrown to 
  the ground by a larger one and found his hands full of earth as a natural course of events. 
  In his rage and frustration, hurling this virtually weightless substance at an on rushing foe 
  might well have been a reflex or an act of desperation, unlikely to have any effect. Still, 
  who can deflect a handful of sand? At the very least, the attacker will blink instinctively 
  and therefore provide an opportunity for the defender to escape. 
   
  This is where the Art of Invisibility begins. 
  Far from being futile, such a defense is the single most effective non-violent 
  method or disappearing ever devised. Depending on the composition of the powder or 
  dust used to blind an attacker, injury may range anywhere from momentary discomfort to 
  permanent blindness.  
   
   
   
   
  
   
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  BLACK EGGS 
   
  The ancient Ninja of the Black Dragon School carried their blinding powders in 
  specially constructed containers ready for instant use. These were called Hai Lan, or 
  “black eggs.” They were made by poking a small hole in both ends of an egg and then 
  blowing into the shell so that the contents are forced out the other end. In this way the 
  raw egg could be extracted without breaking the shell. The egg would then be very 
  fragile, so one had to be careful.  
   
  With a razor or sharp knife open one of the blowholes a bit more widely and plug 
  the hole at the other end with a small bit of wax. Let the shell dry completely. Fill the 
  eggshell with your secret blinding formula. Each ryu (school) had its own formula. This 
  may be the ash of a particular type of tree indigenous to the tribal area of the clan, finely 
  ground bone chips, salt, dry bleach, beach sand, or any similar material. Exotic 
  compounds included certain weeds and alkaloid plants that produce a sparkling effect 
  when reacting with the water from tears. Various peppers can produce blindness; even the 
  metal filings from a sharpened sword could be included to scratch the cornea and thereby 
  inflict more permanent damage.  
   
  Seal the eggshell with homemade glue or wax. The Ninja of old had several 
  formulae for this, but today commercially available adhesives are more than adequate. 
  Once dry, the eggshell becomes a perfect container for a handful of dust and is easily 
  hidden in the hand. It is too fragile to carry in a pocket, but, because of this fragility it 
  will easily spill its contents just when needed.  
   
  The Hai Lan can be hardened somewhat by painting it with several thick coats of 
  lacquer or black paint. A little bit of experimentation will determine how much is needed. 
  You are now armed with one of the most ancient and secret of all Ninja weapons- the 
  Black Egg. 
   
  SHADOW DUST 
   
   
  At this juncture a special word should be said about the practice of “hiding in the 
  shadows.” While this may seem to belong properly to the category of camouflage, it is 
  also part of the manufacture of Black Eggs or Ninja Dust Bombs. 
   
  The Ninja discovered that the lighter the material that composed the contents of 
  these eggs, the longer it was likely to hang in the air and be an effective barrier to vision. 
  Some experimentation proved that ashes and dust were the two best substances to make a 
  simple powder for this purpose. Being frugal and not wishing to waste anything, the 
  humble Ninja did not throw away the ashes from his fire, anymore than he discarded the 
  contents of the egg. He ate that egg to give him strength and turned the shell into a 
  weapon filled with those ashes. Likewise, in his housecleaning, scuttling about his 
  dwelling, or busily sweeping as a servant to some lord, the Ninja was also collecting 
  ammunition for his blinding powder devices. Since dust was often found in corners, 
  
   
  15
  under stairs, and above doorways, one engaged in cleaning would naturally become 
  familiar with those places and so be better able to conceal himself in their shadows, 
  should the need arise. Also, when watching an enemy in preparation for an ambush, 
  collecting sand, sifting dust or sand between the fingers serves to calm the mind by 
  giving the hands something to do.  
   
  Thus, hiding in the shadows is more than just a technique of Inpo (the art of 
  stealing in or hiding). It is also a meditation on stillness and silence and part of the 
  practice for later skills that involve collecting and cultivating Qi, the vital life-force of the 
  universe that surrounds and pervades all things. 
   
   
  THE CLOUD OF DUST 
   
   
  Two methods of delivering the Ninja Dust Bomb against an opponent present 
  themselves automatically. One is to crush the egg in the hand and throw the contents into 
  the enemy’s face using any one of a great variety of flinging techniques, many of which 
  are seen in Shuriken-Jitsu, named for the spikes and star shaped multi-pointed throwing 
  blades for which the Ninja are famous. Range is, of course, limited. Owing to the 
  lightness of the tiny particulate matter and missiles involved. The practice method for this 
  technique is to throw a dry washcloth at a head sized target or partner. This will fly about 
  as well and as far as a handful of dust, and so provides good training and evaluation for 
  the student without making a dusty or cloudy mess.  
   
  The third method is the basis for the myth that Ninja had grenades that exploded 
  on impact and created a cloud of smoke in which they could vanish. Given the crude 
  gunpowder of the era and the natural aversion to carrying something that might blow up 
  in your pocket should you fall on it, the Ninja practiced throwing the dust bombs against 
  the ceiling so that powder would rain down forming a curtain behind which they might 
  disappear. To the untrained eye this has the same effect of throwing something on the 
  floor and having it explode upward. Any ancient exploding devices to create smoke were 
  necessarily detonated by primitive fuses rather than impact. 
   
  Like many things that first seem amazing, when the explanation is known, they 
  are quite simple. That is what makes it “magic.”   
   
  The WITCH DOCTOR METHOD 
   
   
  This technique, Blowing Powder in the Enemy’s Face, was used with great 
  efficacy in the motion picture The Serpent and the Rainbow (1979). The subject dealt 
  with Haitian voodoo and was based on the true adventure of a modern scientist 
  researching the subject. The dust used by the Haitian witch doctors to subdue and 
  paralyze their victims was a hallucinogenic mixed with a small amount of puffer fish 
  poison that conducted the psychedelic directly through the skin of the victim.  
   
  Hold the powder filled eggshell concealed in the hollow of your hand. Move into 
  effective range, established by a little practice beforehand. Or, let the enemy come within 
  range as he advances aggressively. Crush the eggshell in your palm. The noise will attract 
  the enemy’s attention, it is one that is recognizable but unusual in combat. Thus, he 
  
   
  16
  hesitates to see where the sound came from. Watch his eyes. When he blinks or looks at 
  your hand, he has lost the battle.  
   
   
   
   
   
  Immediately turn the palm up in the manner of a magician showing you a treasure 
  he has just produced. In the voodoo method the “assassin” would walk right up to the 
  victim, smiling all the way- then “Poof!” After preparing for this moment by taking a 
  lungful of air and tightening your belly to charge, blow the dust off your open hand with 
  a single forceful blast of wind as when blowing out a stubborn candle. Aim for the eyes, 
  intending the particles to elicit the involuntary blinking response of the human eye. This 
  requires only two-hundredths of a second and cannot be stopped without years of practice 
  in staring. Thus, you temporarily blind the opponent and so become invisible. His 
  blindness will last from five to forty-five seconds, depending on the magic powder 
  formula used. In that amount of time, most people can pick up a weapon and beat the 
  enemy senseless, or run away and get help.  
   
   
  
   
  17
  SINGLE HAND TOSS 
   
   
  Magicians and illusionists enhance the effect of blinding powders and make them 
  less fearsome by using glitter dust. Symbolically it is the same thing. You “catch the eye” 
  of the audience or attacker and distract them from the real action, enabling the performer 
  to vanish some object or volunteer.  
   
  This is the same sparkling, shredded bits of aluminum foil that most children in 
  kindergarten learn to glue onto cardboard, paper and each other. It makes a dazzling 
  display. These require no preparation after being purchased. The tops of the little plastic 
  tubes come off easily, enabling the user to scatter the spray of metallic color and 
  reflection by simply tossing it upward. Being heavier than dust or ash, the particles will 
  fall more quickly. Therefore the hiding place to which you will flee, having been selected 
  before trying this ploy, must be close at hand.  
   
  The Single Hand Toss is the most basic way of delivering the Ninja Dust Bomb, 
  glitter dust, or any similar powder weapon, as well as coins, sand, or a bowl of hot soup. 
  Drop the leading hand, the one nearest the target, to waist level holding the broken 
  eggshell in a loose fist to conceal it from the enemy. 
   
   
   
   
  
   
  18
  Quickly toss the dust upward, opening your loose fist to spray the powder into the face of 
  the adversary. Again, a little practice goes a long way. You can also toss the dust between 
  you and the adversary to form a temporary screen that will hide you from view long 
  enough to duck away out of sight. Alternatively, toss the eggshell hard up against he 
  ceiling to make him look up at the noise and be showered with dust.  
   
  Some ancient wizards added to the confusion of such a display by leaving behind 
  a talisman, magic sign, mouse, frog or bird. The victim of this trick would then 
  unconsciously associate the living creature with the magician and mistakenly assume that 
  the sorcerer had turned himself into the animal. Furthermore, the familiar, pet or beast 
  attracts the attention of the victim, drawing him away from you. This is the basis for the 
  legend that vampires could turn into bats, that illusionists can transform into tigers, and 
  that Ninja could likewise “morph” into some other life form.  
   
   
  THE GLITTER MAGICAL WORK 
   
   
  Today the simplest way of applying the old sand-in-the-eye trick is to fill a small 
  plastic bag with flour and loosely seal it with a bit of tape. The bag can be opened by 
  lifting the flap and dumping the contents through the hole, by ripping it in half to create a 
  large display in a single motion, or by cutting into the plastic with a finger or thumbnail 
  and tearing a hole through which the powder may be dispersed.  
   
   
   
   
  Another method of throwing a handful of sand, dust, or rocks into the face of the 
  enemy is to toss the ruptured bag upward with both hands, as if scooping out water from 
  a bucket. 
  
   
  19
   
   
   
   
  SAND-IN-THE-EYES METHOD 
   
   
  In many emergency situations a handful of sand may be obtained by suddenly 
  crouching down, as if fearful of being struck, and grabbing a handful in each fist. After 
  very little practice, you can launch the tiny missiles toward the enemy as you regain a 
  vertical base, either by using both hands at once, one hand at a time, or by cupping the 
  hands together. All are equally effective in delivering the weapon and making the enemy 
  look away so you can escape. 
   
   
      
    
  
   
  20
   
    
   
   
   
   
   
   
   
   
   
   
  
   
  21
  THROWING TECHNIQUES 
   
   
  The method of practicing these techniques is to throw the powder forcefully onto 
  a wall or sheet so that the various splatter patterns can be seen and the most effective 
  throwing method chosen. With a minimal amount of effort even the meek and mild can 
  overcome the high and mighty. 
   
  It should be noted that a good deal of attention has been placed on the art of 
  Shuriken-Jitsu (throwing stars or darts) with much emphasis on the implements 
  themselves- how many points the have, how sharp they are, how much penetration they 
  achieve, and so on. The masters of the true art, however, will tell you that the real secret 
  of throwing is to be accurate. If the proper method of throwing is learned even a penny 
  can be as deadly as an arrow. One should use the Tonki (shuriken) starts, knives or spikes 
  to practice throwing accurately. Then anything can be a weapon.  
   
  Another method of projecting powder into the eyes of an enemy at slightly greater 
  distance is by means of the squeeze bottle. This can be constructed easily by emptying 
  any of the soft plastic containers available on the market today, drying out the inside and 
  refilling it with a finely ground powder, such as talc. 
   
  The aperture, or nozzle, must be of sufficient width to permit passage of the 
  particles when pressure is directed against eh sides of the container. Furthermore, some 
  sort of loose fitting or easily removed cap must be in place to prevent accidental spillage. 
  Something as simple as a small bit of wax placed over the end can be adequate. The wax 
  will be blown off when the bottle is squeezed. 
   
  The Squeeze Bottle, like the Poison Water Gun, increases the effective range of 
  the weapon. It is customary to paint such devices black so they blend into uniform, or 
  flesh tone so they are not easily visible in the hand before use.  
   
  THE SQUEEZE BOTTLE METHOD 
   
   
  Here the stream of powder is clearly seen and the effectiveness of this non-violent 
  weapon is clearly demonstrated. Virtually no movement is required to initiate this attack. 
  Multiple dispersals can be employed, each of lesser volume and pressure as the contents 
  are depleted.  
   
    
   
  
   
  22
  The best place to carry such a contraption is on the wrist or forearm for easy 
  access. One of the reasons who many of the Ninja wore gauntlets was to conceal such 
  devices. This permits ready access without the necessity of delving into pockets that 
  might alert an opponent. 
  Another alternative is to attach a short string or cord to the bottle so that it can 
  hang from the wrist or waist, ready to be captured by the palm for instant use as the 
  contents are expelled in a single motion. Of course, this requires slightly more practice 
  than some of the other methods. 
   
     
  BLACK NINJA METHOD 
   
   
  At the time of this writing there is a professional wrestler known as Kendo 
  Nagasaki, the “Black Ninja.” The author has often seen him perform. He uses a trick 
  known as the Earth Method Dragon Breath to propel a dry, blinding powder into his 
  opponent’s face. At the crucial moment in his bouts, he emits from his mouth a green 
  powdery mist. Opponents struck in the face with this weapon immediately clutch their 
  eyes and writhe on the mat in agony. While we have no way of knowing for certain if this 
  gentleman performs this feat as it is done in the Koga Ryu system, this is, nonetheless, 
  one such method of dispersing a dry powder from the mouth.  
   
  Since bamboo is plentiful in Japan anD China, it was only a matter of time before 
  someone got the idea of using a pipe stem to propel darts and powders at the enemy. A 
  small joint of bamboo, filled with powder and capped with wax on both ends, can easily 
  be hidden in the mouth and used as indicated.  
   
  The reason it is called Earth Method of the Dragon Breath technique is because 
  dry powder and sand are of the Earth. They are the natural weapons the Ninja is given by 
  the Earth. There are many methods of tossing, throwing, or propelling such missiles. 
  Blowing them out of a tube is properly a function of the Wind (Air), one of the Five 
  Elements. The Dragon Breath Technique is therefore classified as an Air Method. But, 
  one can also spit water, as will be seen in the next section, or dry powder if one but 
  knows how. Some Ninja ryu carried tiny blowguns like this with poisoned darts that 
  could be spewed at an enemy if he was foolish enough to try and pull down the Ninja’s 
  mask to see his face.  
   
   
   
   
   
   
   
   
   
   
  
   
  23
  KASUMI no JITSU 
   
   
  Suppose, however, that you are caught without your secret weapon? How will you 
  vanish then? 
  Not to worry- the Ninja have a technique for that unfortunate eventuation of 
  circumstance as well. It is called Kasumi, the mist or fog. Given here is the Earth Method 
  for using it. 
   
    
   
    
  Stand at Parade Rest or Ready Stance, squarely facing the aggressor with hands 
  clasped in back or front and the knees slightly bent. In Kuji Kiri, the finger-knitting 
  positions of Ninja meditation, the eighth position is one in which all the fingers are 
  extended wide to symbolize “control of the elements of Nature,” a signal to others in the 
  clan of awareness of the Five Elements. In a moment you will signal this, unarmed, to the 
  aggressor in such a way that he cannot mistake the message. 
  As he steps forward to grab you, deflect his arm by raising both of your arms 
  upward from the shoulder, bending the knees to lower the hips and head defensively and 
  aim the backs of your wrists at his face. Through depth perception, his eyes will see the 
  ends of your arms and judge the danger presented as they come into range. They will 
  seem quite far away, so most people will react slowly to the threat.  
  Flick the fingertips of both hands upward into his face to make him blink by 
  touching his eyelashes. Again, this elicits an involuntary blink response. Of course, that 
  would be an ideal application. Barring that, any proximity of the fingertips to within two 
  inches of his eyes is sufficient to cause the blink response. What he would see, if his eyes 
  were open, would be both palms and outstretched fingers in his face; and that would be 
  all. You would thus be hidden behind you open palms. Such that he cannot see you have 
  ducked down and bent your knees. 
  
   
  24
   
   
   
   
  With your right leg, Cross Step in front and step behind the opponent by pivoting 
  on the right heel, striking him in the chest or throat with your forearm while passing 
  beneath his outstretched arm. This jars his chest and phrenic nerve in the neck that 
  operates the diaphragm. This injury causes it to slow down so he cannot breathe. 
   
    
    
   
   
  Swing behind him with your left leg and wrap your left arm around his throat to 
  choke him. Hold his head while you press your fist against the base of his skull. Hold 
  your right bicep in your left hand to form a Figure-4 Lock around his neck. This is a 
  secure hold from Greco-Roman Wrestling. The pressure produces temporary blindness 
  through trauma to the primary cerebral cortex of the brain, which controls all vision. Cut 
  off the blood supply and darkness envelops the victim. After pressure is released, 
  impaired vision will last as long as the pressure was applied to produce the effect. 
  This is also the position for applying the Japanese Sleeperhold, performed by 
  using your right palm to push the enemy’s head forward so that his throat is pressed into 
  the “V” of your left elbow, cutting off the flow of blood to the head by constricting the 
  carotid arteries on both sides of his neck.  
   
  When the enemy passes out, you have become invisible.  
  
   
  25
   
  This vanishing technique is the first to be learned because Earth is the first of the 
  Five Elements. It may be used with any of the blinding methods or striking methods 
  given or yet to come. It is a Wood technique that employs spiral action.  
  There are three types of motion: linear, circular, and spiral. The last being a 
  combination of the first two. Among the Five Elements, Earth is a linear or Yang element 
  as is Fire. Water and Air are circular. The epitome of all techniques- for both linear and 
  circular have their applications- is a combination of the two.  
   
  The linear part of the technique is the Hand Flash in the face. Lift straight up, 
  arms and fingers straight. The circular part is the Cross Step behind the opponent. Wood 
  is used to symbolize spiral motion because it represents circular motion around a linear 
  axis, the very pattern of the Universe itself.  
  It is useful to combine this Kasumi trick from Judo with a loudly shouted 
  command to startle the opponent and make it easier to flick your fingers in his face. In 
  martial arts, this is called a Kiai, or spirit shout. It also tightens the belly to stir courage. 
  Development of this technique is a product of meditation and is the test at the end of each 
  book.  
   
   
  KINDLING THE INNER FIRE 
   
   
  Let’s say you have managed to “disappear.”  
  What will you do now?  
  Well, usually you must hide. That requires patience. So, the Ninja developed the 
  Exercise of Stillness, how to sit and breathe quietly while waiting for pursuit to end. To 
  pass the time, they practiced Kuji Kiri, the Japanese version of Qi Gong or breathing 
  exercises, to calm the mind and heal the body. 
   
  The Body is the vessel that holds the spirit. That is why it represents the Earth 
  Element.  
   
   
  The Breath is the spirit. Many cultures believe that an infant is not alive until it 
  takes its first breath. At that time, it is believed, the spirit enters the body, bringing with it 
  all the knowledge required to exist in an Air environment instead of a water filled one.  
   
  The Mind is the will, that binds them together.  
  Before one can learn to be a “fire-breathing dragon” one must first earn about Fire 
  and Breathing. To accomplish this, the ancients have provided a series of exercises that 
  act both on the conscious and the subconscious levels. They must be learned in the proper 
  sequence given on the fingers, each level building on the one below it. Do not leap ahead, 
  lest injury result.  
   
  The fist step is to draw air into the vessel, then to extract from it the essence 
  required to sustain the body. Just as the digestive system extracts nutrients from food, the 
  lungs extract oxygen from the air.  
   
  The Greeks called the vital life-force pneuma. The Hindus refer to it as prana. 
  The Chinese call it qi, the Japanese ki. By whatever name, it is not only the molecules of 
  nitrogen, hydrogen, and oxygen that make up our air, but also the electrical potential that 
  holds the atoms together.  
  
   
  26
  When gases change from oxygen to carbon dioxide, a finite amount of energy is 
  released, evident and observable. Accept for a moment the principle of modern physics 
  that energy cannot be destroyed. If so, then the energy released by oxygen being 
  extracted from the air had to “go” somewhere. It is found in the charkas or energy wheels 
  of the body, playing on the surface of the skin in the acupuncture meridians and the aura. 
  It is the force of Life. It is exactly this same type of chemical reaction that releases energy 
  to muscles to make fibers contract and the body move. On a molecular level, adenosine 
  diphosphate is transformed into adenosine triphosphate to power the muscles. This is a 
  medical phenomenon known as the Kreb’s Cycle. 
   
  So, the goal of this first exercise is to extract from the air both the gases needed to 
  maintain life and the Qi (“key” or “chee”) the Force that is everywhere, filling, 
  penetrating and surrounding all things. In the martial arts this energy is used to harden the 
  body and make it invulnerable to spear, sword, arrow, serpent’s fang or tiger’s claw. 
   
  Any cultivation of the life-force is called meditation. 
   
   
   
   
  KUJI KIRI 
   
   
  Sit in the Half Lotus Posture, or Adept’s Pose. The right leg is folded beneath the 
  body to sit on the heel. The left leg is folded with the left foot resting on the right thigh. 
  Touching the middle fingertips to the thumbs connects the psychic channels in the arms 
  and prevents energy leaking out of the palms. This is the first of the mudra, or finger-
  knitting positions of Kuji Kiri. 
   
   
   
  Inhale slowly and deeply through the nose, filling the lungs from bottom to top, 
  like pouring water into a glass. This is the first breathing exercise of Kuji Kiri. It is called 
  Deep Breathing. Most people only use the upper third of their lungs for respiration.  
   
  
   
  27
    
    
   
   
   
  Draw the air deep into the Tan T’ien, the One Point two inches below the navel, 
  the center of gravity and balance of the physical body, the Golden Stove in Chinese 
  medicine and Ninja Alchemy. This is called “kindling the fire.” Note that the lower belly 
  expands as you breathe in and contracts as you breathe out. This is the same lower belly 
  we have said many times should be tightened just as one charges the enemy in combat.  
  Symbolically, the Golden Stove will “cook” the Juice of Jade, described in the 
  Book of Water, until the “steam’ rises to the Mysterious Chamber of the head to 
  enlighten the Mind.  
   
  Exhale slowly and completely through the mouth by gently compressing the 
  lower belly, expelling all impurities and negative emotions from the body. This is the first 
  relaxation exercise. It is called “sighing,” a natural stress-relieving technique instinctively 
  known to all.  
   
  The first form to be studied is called Natural Breathing. Most people breathe with 
  their lungs, usually with the upper chest alone. To do so is to limit the amount of lung 
  area available for oxygen exchange. The ancients have taught us to “breathe with the 
  belly.” Inhale slowly and deeply letting the lower abdomen, below the belt, expand as if 
  filling with air. This opens the lower lobes of the lungs so more oxygen can permeate the 
  blood. Then let the belly deflate as the exhalation is made. One should repeat this for at 
  least twenty minutes at the beginning and end of each meditation session. For the 
  beginner, however, three or four repetitions are enough to start with lest you 
  hyperventilate. 
   
  This exercise will calm the mind, heal the body and improve the digestion. It is 
  sometimes helpful to visualize clean, pure air coming into the body and impurities or 
  negative emotions being gently expelled. Listen to the sound of your respiration and 
  gradually make it slow, soft and silent so it cannot be heard, even by yourself. Then you 
  can hide effectively. 
   
  You might want to mentally or verbally repeat some positive affirmation. A short 
  phrase, such as “in comes the good air, out goes the bad air,” can be very effective. At the 
  conclusion of each session you will be relaxed and refreshed.  
   
  What has all this to do with becoming or staying invisible you may ask? Suppose 
  you are confronted by a bully who takes hold of your shirt to prevent your escape and 
  you haven’t had time to steal your Black Egg from its secret pocket. Not to worry- you 
  are now armed with Qi, what martial artists call inner strength.  
  
   
  28
   
  For them, and now for you, Qi is drawn into the Tan T’ien, below the belt, 
  compressed and directed to the fist, forging it into a deadly weapon. Or, it is channeled to 
  some other part of the body to make it impervious to injury or heal a wound. Or, in the 
  case of the Ninja Fire Breathing Dragon Technique, it is used to propel a fireball at a 
  target. This is the first step in developing that technique. It cannot be omitted. 
   
   
  THE USES OF FEAR 
   
   
  When one is frightened, the rate of respiration changes, contributing to and caused 
  by fear. Natural Breathing calms this anxiety and that alone is reason enough to practice 
  it. Now, however, we shall apply it to he art of self-defense.  
   
  As fear grows you feel the “bottom drop out of your stomach,” because your 
  adrenal glands have been activated by the “flight-or-fight” response; another involuntary 
  reflex common to all human beings. When this happens, take a deep breath. Draw air 
  deep into the belly, filling and expanding it in the same manner as meditating. This will 
  calm the adrenal effect and give you control over your reaction, enabling you to perceive 
  the situation clearly and react spontaneously. Exhale about ten percent and tighten the 
  belly. This helps prevent injury and screws up the courage. The Samurai had a saying, 
  “When afraid, tighten the belly and charge!” 
   
   Look the attacker “dead in the eyes” by focusing on his forehead. This is a very 
  subtle trick used by magicians and hypnotists. It makes the subject feel inferior and can 
  be used to intimidate those of lesser will. Fix his attention on your eyes as you inhale. 
  This is a psychological response to his challenge. By engaging his vision you accept and 
  signal to him with your body language that you are preparing to fight. This will make him 
  hesitate. It may even make him release you and give up the battle, preventing further 
  escalation of violence.  
   
  If this fails, as you finish inhaling and tightening the lower belly, blow out 
  forcefully into the face of the attacker. Don’t try to “blow out all the candles” in one 
  breath and empty yourself. Save some air with which to strike a blow or run away. Even 
  a short blast of air will make him blink and provide an opportunity to escape. 
   
   
   
  PRACTICING BREATH CONTROL 
   
  BLOWING OUT A CANDLE 
   
   
  Here is a practice method for developing this technique. Stand poised in a firm 
  Horse Stance at arm’s length from a lit candle. Concentrate on the flame as you breathe 
  in. Without moving closer, practice blowing out the candle by exhaling short puffs of air 
  from the belly. Correct your aim by blowing a steady stream of air and watching for the 
  flame to flicker. 
  
   
  29
   
  This is a test of Qi Gong, breath control. When you can put out the candle with a 
  single puff at arm’s length you will have learned the technique. There is no way the 
  enemy can block it or prevent himself from blinking. At that instant, MOVE! 
   
  Decide whether to jerk away from his grasp or seize him in a painful wristlock 
  while inhaling, but don’t be indecisive-it can be fatal. 
   
     
   
   
   
  Advanced practice for this technique is to put the candle at eye level. Begin by 
  blowing gently until you can see the effects of your breath on the flame. You should be 
  able to make it move back and forth as you inhale and exhale from about three feet away. 
  When you can do that, bend it toward you and away by will alone. Do this for a while, 
  then blow it out in a single puff. Gradually move farther back until you can snuff it out 
  from about three feet away. Blowing out a candle at eye level is quite different from 
  blowing down onto a table.  
  Do not strain. Do not sputter. Do not try to go beyond arm’s length. The technique 
  can be done from greater distances, but then one tends to whistle or spit unintentionally.  
   
   
   
   
  STONE DRAGON TECHNIQUE 
   
   
  A Shaolin teaching declares, “The Earth Dragon is made of stone. Rooted to the 
  ground it cannot be moved.” Stone Dragon techniques include linear punches and kicks, 
  takedowns, breakdowns, and throws to get the enemy on the ground where he can be 
  finished with mat-work techniques. Anatomy, the understanding of the body, the earthy 
  manifestation of the spirit, is learned, just like the vital and fatal points, as demonstrated 
  by the fist-to-the-base-of-the-skull technique, which can also be used to heal. Stone 
  Dragon is only a small part or the Ninja Iron Body system that enables the user to endure 
  hardship and withstand pain.  
  
   
  30
   
  The classic Dragon’s Head Fist in some styles of Kung Fu is known in Ninjitsu as 
  the Shoulder Punch, in which the fingers are curled into the palm and the thumb folded 
  over to lock them into place. This hardens the fist and exposes the two foremost knuckles 
  of the index and middle fingers as the striking surface.  
   
  PUNCHING OUT A CANDLE 
   
    
   
   
  The fist is “loaded” palm uppermost on the hip. Place the candle at the level of the 
  solar plexus. Stand in a firm Horse Stance. Extend the other hand edge up as shown, or 
  palm forward to simulate an attempt to ward off an attacker. This is to establish the range 
  that enables the Ninja to find and strike his opponent even in total darkness by using the 
  sense of touch. The target is the Xyphoid Process at the tip of the Sternum. If this is 
  struck with as little as eight pounds of pressure, the diaphragm will cease pumping and 
  the victim will fall to the floor. No permanent injury will result unless he is struck harder. 
  You may never strike an attacker like this, but you do need to develop hand speed and 
  concentration for some of the later techniques.  
   
  Throw the punch from the hip, twisting the fist over at the last second to “snap” 
  the punch, stopping just short of the candle flame. The aim is to use air compressed in 
  front of the fist to snuff out the flame without it actually being struck. When you can 
  “punch out” a candle in this manner, you can knock out the average man with one punch. 
  The left arm is snapped back to the left hip as the fist strikes to counter-balance the 
  movement and add to its impact.  
   
  Note that this is a linear or straight punch. Compare it to the circular Hidden Fist 
  technique given in the Book of Water. 
   
   
   
   
   
   
   
   
   
  
   
  31
  The Book of 
  WATER 
   
   
  “The Water Dragon resides in the Pool of the Subconscious Mind.”  
   
  Old Shaolin Teaching 
   
   
  The weapons of the Water Dragon are poison spray like that used in the Ninja 
  Poison Water Gun. This is constructed of two interlocking tubes that, when compressed, 
  act like a large syringe to eject a stream of toxic liquid toward an attacker. There is also 
  the more modern liquid tear gas, as well as self-defense sprays like a water pistol filled 
  with ammonia to drive off dogs or muggers.  
  Another weapon of the Water category is Breath Control as demonstrated by the 
  ability to remain submerged for long periods of time underwater. Finally, there is the 
  understanding of the Five Emotions and Five Desires. This is the level of the 
  subconscious mind where a near dream-like state may be induced through auto-
  suggestion to produce positive long lasting psychological results in a short period of time.  
   
   
   
  SPIT IN THE EYE 
   
   
  With all the previous discussion about the Tan T’ien and expelling puffs of air 
  from the lungs, one might wonder why not proceed with the next logical step of spitting 
  in the eye of the enemy as a method of temporarily blinding him so you can escape? 
   
  This has long been regarded as a heroic if somewhat futile gesture in the face of 
  certain doom. It would seem to be more of an insult or an act of defiance than an attack. 
  It may be that this was how the act was first intended. But, if performed at the right time 
  and followed by one of the Vanishing Steps, it is clearly useful as a means of attaining 
  invisibility. 
   
  Spitting, therefore, is an example of a vanishing technique representing the Water 
  Element. Like the previous element Earth, it is known as the Water Method Dragon 
  Breath. Once aware of this technique the wise martial artist is never unarmed. One Kung 
  Fu expert bragged in a recently published martial arts magazine article that he could spit 
  accurately up to ten feet. Accuracy is key.  
  
   
  32
  It is not called “in-the-eye” for nothing. The eye is the best target. In fact, it is the 
  only target sufficiently vulnerable to a drop of water to be worthy of mention.  
   
  There are various ways to learn this somewhat disgusting technique. Individual 
  experimentation is the best way of discovering the most suitable method. Bear in mind 
  that this is a weapon and not just random rudeness. Don’t aim at the ground. Spitting on 
  someone’s boots is an insult and almost certain to elicit a response. But, it is not a “self-
  defense” move.  
   
  Don’t “overload” either. Due to the sensitive nature of the eye and the blink 
  reflex, which it will be recalled reacts even to wind, a small amount of water is more than 
  sufficient and easier to generate and propel with any degree of accuracy. When you can 
  project at eye level for about eighteen inches, return to the candle and practice spitting it 
  out. Over time, move the target farther and farther away until you find the natural limit of 
  your range. This should be about arm’s length, and represents the limits of one’s sphere 
  of influence or “personal space.” 
   
  As the aggressor prepares to attack, accumulate a mouthful of saliva. Or, if a 
  drink is handy, conceal a sip of the liquid by not swallowing it. Return the stare of the 
  adversary steadily. Being “armed” a defender has a psychological edge and so can act 
  with confidence in the face of danger. Not speaking back against his verbal assault will 
  also confuse him. (Of course, you can’t speak because you have a mouthful of liquid.) 
  Thus, the technique produces the body language signals that may, by themselves, 
  forestall his attack. 
   
  Before he can launch an assault, however, or at the moment he makes his verbal 
  challenge and demands an answer, spew the liquid into his face and eyes. This will blind 
  him for an instant with no permanent injury. Be sure to be out of sight by the time he 
  wipes his eyes and regains his vision, since this technique will almost certainly infuriate 
  him and his ego, which brought him to this challenge in the first place, will demand 
  revenge.  
   
   
  THE JUICE OF JADE 
   
  To demonstrate the degree of detail into which the Ninja delved in order to 
  augment their techniques, we present an exercise known in ancient times as Red Dragon 
  Washes the Waves. It can be done is a seated meditation position, therefore qualifying as 
  an internal exercise, one that circulates the life-force, Qi Gong. It is, or was, invented by 
  the Chinese as a method of brushing the teeth long before the creation of the toothbrush. 
  Since they recognized that good digestion was largely dependent on proper chewing or 
  mastication of food into nutrients, good dental hygiene became a hallmark of ancient 
  medical practice. 
   
  Sitting in a comfortable, cross legged pose with the eyes closed, back straight, and 
  head up, lightly run the tip of your tongue around the inside of your teeth from left to 
  right (clockwise) eighteen times; then from right to left (counter-clockwise) eighteen 
  times. Swish the saliva thus generated back and forth in the mouth thirty-six times and 
  divide it into three portions. Swallow each with a gulp into the lower belly. This exercise 
  stimulates and massages the teeth and gums, removes plaque, and prevents tooth decay. It 
  
   
  33
  is also an excellent method of producing spittle with which to practice self-defense. 
  “Brush” twice a day. 
   
  The Chinese believe that the saliva is charged with positive and negative ions 
  through the manipulation of the Red Dragon (tongue), which is the reason for the equal 
  number of rotations in each direction. One should also observe that when the numbers are 
  totaled (18 + 18 + 36) the sum is seventy-two, whose digits add up to nine, the prime 
  number of Shugendo, the Yamabushi sect of Buddhism associated with Japanese Ninjitsu. 
  In Chinese medicine, nine is a Yang or positive number while six or multiples thereof is 
  considered Yin.  
   
  The Chinese call this charged saliva the Juice of Jade and believe it calms the 
  mind, heals the body, and improves the digestion. Certainly, the increase in digestive 
  enzymes alone must produce some beneficial effect. But, beyond this, the three portions 
  swallowed represent Heaven, Earth, and Man, the three levels of being. Thus, a certain 
  degree of philosophy is also included in the teaching. Martial artists know this method as 
  “uniting mind, body, and spirit.” Therefore, it is not wise to waste too much of this 
  precious fluid in mere candle extinguishing practice. Just so you will know how to 
  generate such a weapon if need be.  
   
   
  SPEWING WATER 
   
   
  Having accomplished the first exercise, let us turn now to the simplification 
  method. Instead of using personal body fluids to practice spitting, employ a small cup of 
  water and practice spewing small sips and later streams of liquid at the flame. Try to 
  eventually learn to spray the liquid to form the “mist” or “fog” alluded to in the Earth 
  Methods. 
  Do not sputter, but strive to have the water clear your lips completely using 
  pressure of the lungs and lower belly to expel the smaller amounts in a single jet of spray 
  and the big mouthfuls in a continuous stream. Do not run out of air before you run out of 
  liquid! 
   
  From this it can be seen that any liquid could be used in this manner. A cup of 
  coffee becomes a lethal weapon against more than one attacker by spraying a sip onto the 
  leader, throwing the rest at a second enemy so that a quick and unexpected strike can be 
  made to even a third party and an escape effected. Even Chinese tea or hot soup can be 
  thrown like a Ninja Dust Bomb with the same effect. All symbolize the Water Element. 
   
   
  TOBACCO JUICE 
   
   
  Obvious extensions of this technique include the use of tobacco juice. The 
  somewhat disreputable habit of chewing tobacco does have a self-defense function, if one 
  chooses to cultivate it. The reason for bringing it up is more to make one aware of the 
  possibility of such a defense rather than advocate its practice. One of the greatest 
  American cult heroes, Clint Eastwood, used this device in a film The Outlaw-Josie Wales 
  (1976) in a classic example of using a “bad” means to achieve a worthwhile goal.  
  
   
  34
  Nicotine poisoning of the eyes will induce great discomfort and temporary 
  blindness. A certain caustic effect should also be anticipated, but is usually not sufficient 
  to cause scarring. Furthermore, the pungent aroma assaults the nostrils of the victim in a 
  manner similar to the Dragon Breath Technique given in the fourth book, Air. It also 
  results in the mental discomfort of being spat upon, stained, and embarrassed. 
   
   
  ACID BREATH 
   
   
  Further discussion of techniques for projecting noxious liquids from the mouth 
  must include some mention of the odd one used by yet another Oriental wrestler of the 
  professional arena, Killer Khan. He claims to be from Mongolia and performs the salt 
  scattering ceremony of the Sumo ring before each of his matches. Salt can also be used to 
  blind an opponent or rubbed into open wounds to cause discomfort as an Earth technique. 
   
  Like the Black Ninja, Khan can, at the critical moment, spew into the face of his 
  hapless opponents a green liquid that stains the face and causes such excruciating pain 
  that they are compelled to clutch their fists to their eyes to relieve it. During this period of 
  incapacity they are invariably pinned by the almost three hundred pound Mongolian.  
   
  In Ninjitsu this is known as Acid Breath. It is performed as follows. Hold in the 
  hollow chambers of the mouth until ready for use a chalklike tablet covered in wax to 
  prevent it from dissolving prematurely. When ready, bite into the tablet, filling the mouth 
  with a substance that produces an abundance of saliva as in the Juice of Jade Exercise, 
  only quicker and with less concentration. Simultaneously adding the desired pigment to 
  the mixture. The formula should not be too caustic lest it burn the lining of the mouth and 
  do more harm to the user than the victim. Naturally, the danger of such a trick is 
  accidentally swallowing the mixture or liquid weapon and choking on it. Therefore, do 
  not produce or try to employ too large a quantity of fluid. 
   
  An example of this type of article is the frothing blood capsules sold around 
  Halloween to simulate blood from vampire fangs. When chewed or broken open they 
  produce a bright red tint and stimulate saliva production. Food coloring, however, works 
  just as well, as the degree of salivation depends precisely on the amount of saliva 
  required to digest the substance. A small cellophane pack of water based paint, hidden 
  under the tongue will work as well. When bitten open, the paint, not toxic enough to 
  cause lasting discomfort or poisoning, is distasteful enough to cause profuse salivation. 
  Likewise, if one’s bamboo self-contained blinding powder blowgun from the Earth Book 
  were to be accidentally opened it might produce the same effect. 
   
  The exact method used by the wrestler in question is unknown, but it must 
  necessarily be based on one or more of these same principles. It is most certainly of Far 
  Eastern origin and founded on the principles of Chinese medicine, which holds the breath 
  of the liver to be green. Interestingly, the gall bladder in the liver controls the bile, which 
  is green and yellow and bile is the symbol of anger. Bile is stimulated by that emotion. 
  So, without modern scientific methods or having taken the inner journey of meditation, 
  how could the ancients have known these things? 
   
   
   
  
   
  35
  THE ART OF REGURGITATION 
   
  Of course, no discussion would be complete without raising the spectre of an even 
  more distasteful and revolting sort of halotoctic attack- projectile vomiting. This 
  technique is born of great mental distress and, without a doubt, life-and-death situations 
  are stressful. Everyone gets “butterflies in their stomach” when nervous; before stepping 
  on stage, for example. This is a manifestation of the reflex required to master the rather 
  obscure and relatively unknown art of voluntary regurgitation. 
   
  Harry Houdini is said to have learned this trick from an old Chinese man while 
  working in carnivals and dime museums. He used it to hide his tools and lockpicks from 
  even the most stringent search. The training method is to tie a small round piece of potato 
  to a string and endeavor to swallow it far enough down the esophagus to make it 
  invisible, then retrieve it by using retro-peristalsis, the reverse muscle contractions that 
  constitute swallowing. If lost, the potato and string will simply be digested. The purpose 
  of the string, of course, is to pull the potato back up the throat the first few times so it 
  won’t be swallowed, until you get the knack of regurgitating at will and not from too 
  deeply in the stomach. This technique enables one to overcome the gag reflex in the 
  throat.  
   
  The next step is to practice with an egg. When you are confident of being able to 
  conceal and retrieve a boiled or raw egg in practice. Begin using a Hai Lan, Black Egg, 
  that holds your secret tools. Again, there is no problem if the practice eggs are lost, they 
  are simply digested, but, don’t eat too many at once.  
  It is also possible to regurgitate spontaneously without prior training merely by 
  being sufficiently terrified. Recruits do it in basic training all the time as a fear reaction to 
  verbal intimidation.  
   
  Like many legends about Harry Houdini, this one may or may not be true. But, 
  the method certainly sounds as if it would work and does exist historically. It is yet 
  another example of a technique that trains the Ninja to have conscious control over many 
  autonomic reflexes. One must first control the body, then the mind, then the spirit will 
  soar. As before, one must consider these things in order to understand that there is always 
  a way to achieve a goal, no matter how strange or improbable it may be.  
   
   
  POISON WATER GUN 
   
   
  For the more conservative, other methods include the Ninja Poison Water Gun, 
  counterpart to the Squeeze Bottle in the Book of Earth. It is a device much like a modern 
  syringes. Probably first made of interlocking joints of bamboo with a hole or venturi at 
  the smaller end and closed or sealed at the larger. When filled with marsh water, oil, or 
  similar liquid and pushed together the increased pressure within the tubes propels a spray 
  or stream at or onto an enemy.  
   
  In the modern era a favorite weapon of Russian spies was a glass syringe filled 
  with Prussic Acid. When this is discharged into the enemy’s face it produces a gas that is 
  instantly fatal leaving virtually no trace other than symptoms of a heart attack. Of course, 
  the agent must dose himself shortly before or after with atropine so as not to succumb to 
  the vapor himself.  The weapon is much more easily concealed than a gun.   
  
   
  36
   
  The famous, or infamous bank robber Willie Sutton once broke out of prison due 
  in part to his ability to overcome the guards by spraying chlorine into their eyes. He did 
  this by raiding bleach from the laundry room and dispensing it from tennis balls with a 
  slit in one side. Just think what he might have accomplished with a water pistol. Even that 
  simple toy, when filled with ammonia or bleach, can drive off a vicious dog . So, why not 
  a mugger? 
   
  HIDDEN FIST 
   
   
  Water, it will be recalled, is a circular element, just as Earth is a linear one. 
  Therefore, it is only logical that a martial art based on these principles should have a 
  representative punch or fist as the others do. We therefore come to the first circular 
  technique of the Ninja Invisible Fist system. It is called the Mi Chuan, the “secret hand” 
  or “hidden fist.” 
   
  When one suffers from anoxia, as caused by the Sleeperhold previously given for 
  example, lack of oxygen to the brain produces disorientation, confusion, and often 
  sparkling spots before the eyes. Many Judoka (practitioners of Judo) report that the 
  Japanese Strangle Hold compels the victim to see a “purple haze” just before passing out. 
  This is due to the eye’s reaction to the brain shutting down and is one of the last 
  perceptions preceding loss of consciousness.  
   
  Earlier we spoke of throwing glitter dust in the face of an attacker to use as a 
  blinding powder. Now we mention the spots before an attacker’s eyes just before the 
  purple haze sets in. From martial arts we now present a method of producing this effect 
  with only one finger, in fact, with only one knuckle.  
   
  Fold the fingers into a firm fist but extend the knuckle of the middle finger. 
  Squeeze the other fingers together under it for support. Rap on a tabletop or other wooden 
  surface as if knocking on a door. This hand formation is called the Buffalo Knuckle Fist 
  and is used to “knock” on the enemy’s forehead to stun him.  
   
  Between and slightly above the eyes is a spot known as the Third Eye. It 
  represents a meeting point for many important nerves and lies directly in front of the 
  central sulci of the frontal lobes of the brain. A sharp blow to this point with the Phoenix 
  Eye Fist, as this technique is also known, will disrupt the flow of nerve impulses from the 
  eyes to the brain- not because great damage has been done, although it is possible for a 
  trained martial artist to fracture to bones of the skull or break them; nor because it injures 
  some psychic center of the brain, even though that is also true. Rather the eyes are 
  impaired because the brain will react to a pain in the forehead, albeit minor, before it will 
  answer signals from the eyes.  
   
  Such a blow will make the victim “see spots” before his eyes and may cause them 
  to turn upward or roll up into his head, indicating unconsciousness. A large red spot may 
  appear at the site of the injury and may swell into a lump that can be reduced by applying 
  ice. Almost every time the victim will bring his palm to his forehead, effectively blinding 
  himself by using his own hand to cover his eyes while you escape. 
   
  To produce the Purple Haze, strike straight against the Third Eye as opposed to 
  downward as if rapping on a doorway. By traumatizing the nerves, the muscles of the eye 
  relax, dilate, and roll out of focus for three to five minutes.  
   
  
   
  37
  THE PURPLE HAZE PUNCH 
   
  Form the Buffalo Knuckle Fist by extending the middle joint of the middle finger 
  above your fist. Assume the Secret Fist Stance by covering your right isometrically 
  tensed hand weapon with your relaxed open left hand. This prevents the enemy from 
  seeing that you are prepared to strike. 
   
    
   
   
  Aim your left shoulder at the opponent to present a smaller target and hide your 
  fist from view. Bend your knees slightly in anticipation of having to duck out of sight 
  quickly and lower your Tan T’ien or center of balance. Look over your left shoulder and 
  fix your opponent’s gaze by looking at his Third Eye. In the knocking on the forehead 
  method, the fist makes a circle upward, across the chest, above the eyes and down onto 
  the forehead after the Hand Flash is executed. Both are circular motions representative of 
  the enveloping nature of Water. 
   
  This Mi Chuan technique is the first technique of the Invisible Fist Sea Dragon 
  (Water) Method. It can be learned quickly and easily by anyone and is almost instinctive 
  when trying to fend off an attacker. For this reason a large number of people can be 
  trained in its use in a short period of time. Making it possible for the Ninja to “raise an 
  army” virtually overnight.  
   
  
   
  38
    
   
   
  As the opponent advances intending to seize your uniform or shoulder with his 
  leading hand, take a short step diagonally backward off the line of engagement. In the 
  Five Element Fist series, this is the direction of the Water Step. Lower your head and let 
  him close the distance between you. Sweep his arm aside by swinging your left palm up 
  and outward toward his face in a large circular arc from the previous On Guard Stance. 
  At the same time, swing your right fist out and back in a wide arc to gather momentum 
  for the punch. This is called a “haymaker” in Western boxing. If executing the 
  “knocking” technique let the fist swing up and over to strike down on his forehead. The 
  big trick here is the Hand Flash before his eyes to hide the action of your right fist until it 
  is too late to defend against it. This is in keeping with the Ninja tradition of “invisibility 
  first.” 
  Or, as shown, swing the Phoenix Eye Fist in a wide horizontal arc to strike the 
  opponent on the left temple. This is a stunning blow, much more likely to produce 
  unconsciousness or swelling, black eyes and even broken bones, since the bones of the 
  temporal region are much thinner than those of the forehead. It produces shocking pain in 
  the head and numbing blindness for many minutes. But, it is presented here because you 
  may someday need to knock out an attacker who cannot be stopped any other way. This 
  wild right hook punch is also seen in Boxing and is therefore a valid technique. It comes 
  over the leading shoulder of the opponent and has a lot of impact when the shoulders and 
  hips are turned into the swing to add momentum. Not only will the opponent “see spots,” 
  he will be knocked out with one punch.  
   
   
   
  
   
  39
   
   
   
   
   
   
  A) 
  As 
  the 
  opponent
  advances take a short step
  diagonally backward off
  the line of engagement,
  lower your head and let
  him close the distance
  between you. Sweep his
  arm aside by swinging
  your left palm up and
  outward toward his face in
  a large circular and, swing
  your right fist out and
  back in a wide arc to
  gather momentum for the
  punch. 
   
  B) Swing the Phoenix Eye
  Fist in a wide horizontal
  arc to strike the opponent
  on the left temple. This is
  a stunning blow, likely to
  produce unconsciousness,
  black eyes or even broken
  bones, since the bones of
  the temporal region are
  much thinner than those of
  the forehead. It produces
  shocking pain in the head
  and numbing blindness for
  many minutes.  
   
  C) This wild right hook
  punch is also seen in
  Boxing and is therefore a
  valid technique. It comes
  over the leading shoulder
  of the opponent and has a
  lot of impact when the
  shoulders and hips are
  turned into the swing to
  add momentum. Not only
  will the opponent “see
  spots,” he will be knocked
  out with one punch.  
  
   
  40
  HARAKI 
   
   
  There is a branch of martial arts known and studied by only a few called Haraki. 
  It is a Japanese word, composed of the ideograms for Hara or Tan T’ien, the center of 
  gravity of the physical body and Ki, their term for Qi, previously discussed and defined.  
   
  Haraki involves training oneself to draw in air, collect it and cultivate it in the 
  center (inhaling breath), then transmit it with a shout, known in Karate as a Kiai or spirit-
  shout (exhaling breath). The effect is to tighten the belly so you can charge. It is a cry, a 
  scream, a yell of total commitment. Not at all like the mere grunts of so many other 
  martial arts schools. The warrior puts all his strength and energy into one powerful 
  finishing or deciding blow. It is a strong exhalation from the belly just as a strike is 
  delivered. It is often seen and properly performed in Tamieshiwara, or breaking 
  demonstrations. Here the students shatter boards or bricks with their bare hands. As 
  indicated in the Book of Earth, such a shout can be included in the execution of various 
  vanishing or misdirection techniques.  
   
  In the martial arts, military training, and law enforcement, the value of a deep 
  commanding voice is well recognized and documented. Just as the hypnotic voice will be 
  important to the material covered in the Book of Air. Many a dispute has been settled by 
  a firm tone and a steady timbre, and verbal orders in the field that drive young men into 
  direct gunfire are the result of a programmed response initiated in basic training.  
   
  The relationship of this to water is that sound waves can be seen on water, making 
  an invisible phenomenon visible. Thus, the Water element is associated with sound and 
  sound waves.  
  The effectiveness in combat of the Kiai is well documented. It can “freeze” an 
  opponent in mid-step, startle him enough to make him jump out of his stance, or make 
  him blink. The Kiai is all that is required.  
  The range of the Kiai is somewhat more extended that the Blow-In-The-Face 
  technique, since the operating factor is sound rather than mere air. Some schools believe 
  that all things are merely vibrating at different speeds. Solids are the slowest, then 
  liquids, then air, fire, and finally wood. Within these are the vibrational planes of light 
  and sound, each of which has a range above and below that which is perceptible to 
  humans. Infrared rays are too long to be visible to the human eye. But, are so active that 
  they break down chemical bonds. There exists sounds that are too low of a wavelength to 
  be heard but that can be felt on the skin, and whistles of so high a pitch that only dogs can 
  hear them. 
   
  Thus, sound is also a force that can be used as a weapon to temporarily blind an 
  opponent.  
   
   
   
   
   
   
   
   
   
  
   
  41
  REVERSE BREATHING 
   
  The meditation practice for Haraki is known as Reverse Breathing. To perform 
  this, let the belly contract as you inhale and expand as you exhale, the reverse of Natural 
  Breathing. This is the mechanism whereby Qi is refined in the lower belly. It is essential 
  that both of these methods of breath control be practiced and learned well.  
   
  Again perform about twenty minutes of this exercise in a relaxed and gentle 
  manner. If one considers that Natural Breathing is a way of drawing in positive energy or 
  Qi from the air then it must follow that this energy is eventually transported to other parts 
  of the body. This circulation occurs naturally without conscious direction, otherwise life 
  would cease to exist. With this practice, however, we begin to take conscious control of 
  such autonomic reflexes so that mental direction of energy is also possible. 
   
  In a purely hydraulic way, such manipulations of the mental state will produce 
  unconscious tension in certain parts of the body and this will pump or shunt blood to 
  other parts. In Yoga, sitting in the Full Lotus Pose soon puts the legs to sleep by 
  restricting circulation, at least in the early stages. In so doing, the blood is allowed to 
  collect at the base of the spine. By tensing the belly, this excess can be pumped to the 
  brain, symbolically “letting the steam rise” in Qi Gong. When coupled with the nervous 
  impulses that must necessarily accompany such an event, and mental imagery that 
  reinforces the process, one can stimulate the powers of the mind. Or, so it is said.  
  Even modern science admits that man uses only a small portion of his available 
  brain cells and that a method of stimulating brain activity would be of benefit to mankind. 
  By “charging up” the Qi from the air through hyperventilation in the first exercise one 
  has also oxygenated the bloodstream. In the Full Lotus Pose a certain amount of this 
  blood has accumulated at the base of the spine, ready for the Sacral Pump, pulling in on 
  the lower belly in rhythm with the heartbeat to push this oxygen rich blood to the brain. 
  In Reverse Breathing, this blood floods over the brain, enriching and stimulating 
  the entire organ. Unlike other parts of the body, the brain does not have an extensive 
  network of capillaries to supply blood. Instead, it is essentially bathed in cerebro-spinal 
  fluid while floating in the shallow brainpan of the skull. So, the effect for the user is often 
  like “lighting up the sky” or as in the Zen texts, “opening of the thousand petal lotus.” A 
  symbol for the cortical surface of the brain.  
   
  Of course, such transcendental experiences cannot be adequately described in 
  mere words, otherwise they would not be transcendental. Suffice to say, it is a unique 
  experience what will make you feel better, think clearer, and be more alert, although 
  completely and relaxed ready to meet whatever the day may bring.  
   
   
   
   
   
   
   
   
   
   
  
   
  42
  THE HEAVENLY POOL 
   
  Now that the inner fire has been kindled with Natural Breathing and the Qi 
  refined by Reverse Breathing in the Golden Stove and the distillation of this raised to the 
  Mysterious Chamber by way of the Heavenly Pillar of the spine all that remains is to let it 
  condense and return to the Tan T’ien to complete the Small Heavenly Cycle of Qi and 
  begin the process of insuring peace of mind, good health, and longevity. 
   
  This is accomplished by touching the tip of the tongue to the roof of the mouth. 
  The palate, tongue, teeth and so on are known as the Heavenly Pool in Chinese medicine, 
  where the Juice of Jade originated that was boiled to make the distilled vapor above. 
  What is important, however, is that this chamber forms a gap in the energy channels of 
  the body only bridged by this exercise to let the Qi flow freely.  
   
   
  SHOUTING OUT A CANDLE 
   
  Practice “shouting out a candle” by assuming a Horse Stance at arm’s length from 
  the target. Inhale slowly and deeply, filling the lungs from bottom to top.  
   
   
    
   
   
   
  Exhale forcibly, from the belly shouting a one syllable command word, using the 
  diaphragm to direct the sound at the flame. Tighten the belly as you shout. Virtually any 
  explosive sound can be used for this Kiai. “Ha!” “Fish!” Even “KIAI!” itself. Or, a 
  recognizable word such as “Stop!” “No!” or “Wait!” can be employed. All of these words 
  or syllables are “plosive” in that they expel air from the lungs to produce the sound. The 
  sound used in meditation “Om…” on the other hand is made by closing the mouth and 
  humming, this has a calming effect, which is why it is used for meditation rather than 
  combat.  
   
  
   
  43
  Practice Haraki by assuming a firm Horse Stance at arm’s length from the candle. 
  Clench the fists around the thumbs and set them on the hips. Concentrate the Qi and 
  focus on the candle. 
   
   
    
   
   
  Without moving, exhale forcefully from the belly making NO SOUND. Direct the 
  exhalation at the flame and extinguish it as before. This time using the “silent Kiai. 
  Compare the posture and facial expression in this technique and the previous exercise. It 
  will be seen that in the former, chest compression expels the air and sound, while the 
  second uses a forceful compression of the belly to direct silent sound waves toward the 
  target. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  44
  The Book of 
  FIRE 
   
  “Time is the fire in which we burn. The Fire Dragon lives in the flame...” 
   
  Surit Khan- Thuggee Grandmaster 
   
  Given here for the first time ever in print anywhere is the secret method of Eating 
  and Breathing Fire. Both must be learned, or neither, for they are the penultimate Yin and 
  Yang of Qi Gong Exercises of this Way. There is no better or more terrifying weapon. 
  Thusfar we have discussed two of the Five Elements, Earth and Water. 
  Represented symbolically by the pinky and ring fingers. The middle finger of the hand 
  represents the Fire Element. Within this digit flows the Heart Governor Meridian of 
  Acupuncture and the Yang Yu psychic channel of the arm terminates at the tip of this 
  finger. As well as many major nerves of the arm.  
  In this section we shall present the physical representation of the Fire Element as 
  taught to members of the DOJO-Academy of Martial Arts who train in Black Dragon 
  Ninjitsu. This Art has been described in many ways. As “savage and terrifying” as the 
  “dark side” of the martial arts, and other misnomers. All part of the Ninja technique of 
  Monami no Jitsu, translated to mean, “a head dress seen from four sides looks the same.” 
  In other words, a great deal of the world’s misery is caused by misperception. 
  Sometimes the Ninja deliberately confuse the issue. There are many methods of 
  presenting the oft seen Yin-Yang/Tai Chi Symbol for example. Usually it is given as a 
  circle, divided by an S-shaped line, black on one side white on the other each side 
  containing a spot or seed of the other. But, there is only one proper presentation of this 
  primordial symbol so that its meaning is clear. Naturally it is the most ancient and basic.  
  The original meaning of this symbol was that Yang energy came from above, the 
  Sun or Heaven, and descended to the magnetic center of the Earth where it reversed 
  polarity and rose as Yin energy back toward the Sun, and reversed its own polarity to 
  repeat the cycle. Thus the circle should be divided by a backwards “S” to symbolize the 
  clockwise direction of time, with the white (Yang) beginning at the top and being full at 
  the bottom holding a spot of Yin to represent the reversal of polarity and black on the left 
  (Yin) rising toward the spot of Yang above it. Any other representation is coded because 
  no others have an explanation like this.  
   
   
  
   
  45
   
   
   
   
   
  There is no other book that teaches Fire Breathing Technique. It is a magician’s 
  secret hitherto transmitted verbally only from Sorcerer to Apprentice. IT IS REVEALED 
  HERE FOR THE FIRST TIME EVER IN PRINT! It belongs with other “torture tricks” 
  like walking on burning coals or piercing the cheek with needles. All of which rely for 
  their efficacy on some subtle physical principle. Although they may seem fantastic and 
  incredible, most are relatively simple and require primarily the will to carry them out.  
  As the popular magician Penn Gillette once remarked when about to perform this 
  stunt, “One should ask not so much HOW this is done, but rather WHY anyone would 
  want to do it in the first place.” The reason is as complicated as the study of invisibility 
  itself; which is to say it is simple.  
  Basically though, such performances are a public display of Power, mystical or 
  otherwise, intended as much to impress the audience as it is to develop still greater 
  mental control of the autonomic nervous system. And this, is yet another form of self-
  discipline. It takes steely nerves and a steady hand to do the Fire Eating Trick. Still, it is 
  but another small step on the path.  
  There is no trick to Eating Fire. It is a matter of concentration and understanding 
  the nature of the flame. Sideshows and sorcerers have demonstrated this ability through 
  the ages as a method of showing their skills. It is a question of passing one’s own test by 
  performing in public as well.  
  Symbolically, such a performance gives the impression that the wizard or Ninja 
  nourishes himself on elements beyond the comprehension of mere mortals. This then is 
  transmuted into magical powers, like making the user impervious to injury by fire. The 
  presentation may include other feats of strength or walking on broken glass, but the 
  rationale in the mind of the observer is always that the magician has the ability to ingest 
  and absorb the power of the ancient mystical Fire.  
   
  So, what is the performer saying with this demonstration?  
  Some say that he is simply demonstrating the Secret of Life; albeit in a dramatic 
  fashion. For whatsoever a man or mind may cultivate or imitate, so must he become. The 
  
   
  46
  cycles of respiration, digestion and circulation shown by any of the ancient sciences is 
  not only essential for life to exist, but the same laws and principles apply on every level.  
   
  Must not a man breathe? Drawing in Air, cultivating it by the exchange of gases 
  in the lungs, circulating it to the body to sustain life and expelling with it all negative 
  thoughts and emotions. And if a man breathes fresh air or breathes in a particularly 
  efficient manner is it not better for the working of the body? And, if he stops breathing 
  will he not die in a few moments? 
  Is it not necessary for a man to drink? Swallowing water from which fluids are 
  produced. Have not even modern sciences told us that 90% of the body is water? The rest 
  being a small handful of chemicals. Isn’t it absorbed and changed into and through tissue 
  and expelled having ended its journey through the body by passing through the filtration 
  of the kidneys, carrying away impurities. If we stop drinking, don’t we die in a few days? 
   
  Isn’t Earth itself also represented? In the form and variety of food. And, isn’t the 
  pattern the same? As one anatomy professor described it, “The body is essentially a tube 
  within a tube; put something in one end, something comes out the other.” Digestion is 
  more complicated that water absorption in terms of the number of organs devoted to it. 
  Bear in mind that life can only exist within a certain acid-alkaline pH range of the blood. 
  This is determined by the rate of respiration and the quality of the air. Likewise, too much 
  fluid, congestion of the lungs for example, can be fatal; just as can dehydration. So, an 
  equilibrium must be established here as well.  
  That is why the ancients and now modern man placed such emphasis on proper 
  diet. If you eat “junk food” it is mostly sugar. The body loves this. All nutrients are 
  eventually converted to glucose, a type of simple sugar, for use by the muscles. Such 
  foods are easy to digest and take into the system. But, in time the lack of fiber causes the 
  intestines to suffer and one may develop a malabsorption syndrome so that essential 
  minerals and vitamins cannot be obtained. In this way an imbalance is created that leads 
  to illness and disease. 
  That is the nature of medicine, to relieve the suffering and restore the balance. 
  One must take great care in tampering with the balance. One method is by regulation of 
  diet. Do not diabetics monitor their blood sugar level and supplement or disperse as 
  needed? They also regulate this level by exercising or taking insulin. 
   
  That is the nature of this teaching. 
  Chinese medicine says that one must do nothing to excess. Observing moderation 
  in all things. And, that circulation is the key to good health and longevity. They have 
  devised many methods and techniques. The ones presented here are but one series. 
  Nonetheless, they lead to an understanding of the order of things.  
  So, we must have water and air, and if we stop eating to we not die in a few 
  weeks?  
  Why then should it not be the same with fire? 
  That is why the audience attributes magical power to the magician. Because they 
  recognize this pattern of the Five Elements on an intuitive and subconscious level. That is 
  WHY the magician learns to eat fire. Because he knows the pattern holds true for all 
  elements. Demonstrating this ability to others confers upon him the mystic power of 
  Charisma. First, by teaching him to do something that very few others would even 
  attempt. And, secondly by giving him confidence gained through knowledge and 
  practice.  
  
   
  47
  DEVELOPING THE SUBTLE BREATH 
   
   
  In order to perform Fire Breathing Dragon one must develop sufficient breath 
  control to emit a steady stream of air for a long period. This air will form a column 
  around the flame to be manipulated and protect the tissues of the mouth and lips.  
   
   
    
   
   
  Stand facing the candle at arm’s length in a Horse Stance with your hands relaxed 
  and your mouth slightly open. Inhale deeply, filling the lungs from bottom to top. Tighten 
  the lower belly and project the Qi at the flame by steadily compressing the abdomen. 
  Send out a steady stream of air that can be directed at the flame.  
  Because of the slow and steady nature of this column of air rather than a forceful 
  or sharp movement this technique is sometimes considered to be a subtle use of the life-
  force itself, the Qi (physio-electro-chemical energy) that activates and stimulates the 
  nerves of the body. Hence, it’s classification with the Fire Element.  
  The idea here is not so much to “snuff out the candle” as it is to make the flame 
  bend away from your breath until almost the end of the exhalation, then finish off with a 
  final sharp push. Remember always to retain 10% in the body so you don’t have to gasp 
  for air when done.  
  The abdomen should be taut and most of the air forced out of the lungs by 
  dynamic tension. In the same way, learning how to expel a ball of air from the abdomen 
  makes it possible to snuff out a candle from a much greater distance than by blowing on 
  it. And, prepares the user to expel his breath in such a way that it can be used to control 
  the flaming torch used for Fire Breathing and Eating. This Subtle Breath can also be 
  projected along tabletops to move small objects without physical contact. 
   
   
   
   
   
   
  
   
  48
   
  FIRE EATING 
   
  The technique of eating fire is performed as follows:  
  First, construct three small torches by wiring cotton swabbing to a metal rod. It 
  should be about ten inches long and the tip should be about one and one-half inches long. 
  Second, place a small jar of gasoline in a bowl of sand to serve as fuel. Third, have a 
  damp washcloth or towel handy and a sheet of tinfoil in which to put out the torches by 
  smothering.  
  A lighter or match is used to ignite the torches, which should be seared and 
  packed several times to burn off any threads that might turn into embers. Also, it is best 
  to light one torch then extinguish the match. A candle on the table is a distraction and 
  another fire hazard to worry about.  
  NEVER BRING A LIT TORCH NEAR THE FUEL! In fact, once the torch has 
  been lit at the start of the performance, it is unlikely that it will need to be re-soaked or 
  saturated with any further gas during the entire demonstration. The impressiveness of 
  using real gasoline, taking torches out of the jar and always holding the padded end 
  downward so gas doesn’t “run up the arm,” throwing some of the excess on the ground 
  where it can be identified by the pungent smell, then lighting up, is a spectacular opening.  
  A word of caution should be said regarding the fuel. Only use WHITE GAS. Red 
  gas is treated with a dye to differentiate it and contains lead that will cause heavy metal 
  poisoning similar to ingesting mercury over a period of time. This can be fatal.  
  Also gas fumes can be inhaled and cause eye damage or attacks of sinusitis. 
  Swallowing gasoline, or holding it in your mouth is harmful to the teeth and gum, since 
  vapors and hydrocarbons are absorbed directly into the sensitive tissues. 
  There is also a good deal of soot to contend with. It smokes and dehydrates the 
  roof of the mouth and blackens the teeth. Not to mention a certain amount being breathed 
  in by the nostrils. It does, however, make an impressive flame. It is the fumes that 
  actually burn, not the liquid gas itself.  
  The heat from putting the torch, which may appear small when not lit but makes a 
  long trailing flame, is not intense or even uncomfortable. Although to the onlooker it 
  seems so. It is sufficient, however, to dry out the tissues of the mouth, the Heavenly Pool. 
   
  Alcohol and other fuels burn much hotter than gasoline. The reason gas is such a 
  powerful fuel in cars is because the burn rate is rapid and the mist of the fumes is 
  compressed by the cylinder before the spark ignites it. Some have found success with 
  lighter fluid, not the new Butane type, rather the older petroleum distillate that was 
  absorbed by the wick of the lighter. But, again, the effects of the compound on skin are 
  somewhat severe.  
  Ancient Ninjitsu texts speak of using strong wine as fuel. Certainly they were 
  aware of the process of fermentation and capable of distilling a potent alcohol brew 
  suitable for internal consumption for those so inclined. Yet, flammable enough to 
  perform the magic feat.  
  One trick, known as the Flaming Finger, consists of dipping a digit into strong 
  spirits and passing it through a flame to catch fire. So long as the finger is kept moving 
  the flame may dance on the skin without harm to the user.  
  
   
  49
  This is because the effect of the movement conducts heat away from the flame, 
  making it cool enough to endure without injury. This makes a good warm-up trick.  
  The secret of Fire Eating is blowing on the flame. Not in any way so an onlooker 
  can detect it. Nor, considering the biological effects, should it be considered “cheating.” 
  It is simply the further application of the same Flaming Finger Principle.  
  After all, is not heat what we want from the fire? And, isn’t it absorbed by the 
  proximity of the torch to the body? 
  Isn’t it so that the Chinese have used such treatments as Moxibustion, the placing 
  of small cones of mugwort over certain acupuncture points and slowly letting them burn 
  down to stimulate the flow of energy for centuries?  
  So let no one say that Eating Fire is a sham. If it is, let them come up and try it. It 
  takes practice and determination, but it can be done. The question is whether it is worth 
  the effort is left up to the individual. We believe that to know how is sufficient. 
   
  EATING FIRE 
   
  Practice first with an unlit torch to develop the confidence, skill and technique 
  required to perform this feat of derring do. Also, some students find that they try to go 
  “too deep” when practicing activating the Gag Reflex in the throat. 
  It is a god idea to put a bit of Vaseline Petroleum Jelly around the lips. This is to 
  prevent accidental injury and drying of the mouth. One need not be clean shaven for this 
  trick. If done carefully the flame will not singe moustache or beard. 
  Tilt the head well back so that you can look at the sky. Holding the unit torch in 
  the right hand, bring it overhead and slowly down into the mouth. 
  This slowness is for dramatic effect and so you can control the intensity of the 
  flame by breathing on it. Having learned the inhaling and exhaling breaths in the previous 
  sections, draw a large quantity of air into the Tan T’ien and compress it with the 
  diaphragm as the torch is lifted. Hold the torch at an angle such that if it were lit the 
  flame could rise vertically without burning the fingers. As the torch nears the face, open 
  the mouth wide and exhale slowly from the belly in a steady stream of air. It is sometimes 
  helpful to say the syllable “Haaaa…” when breathing out in this manner. In Chinese 
  medicine, this is the sound of the heart, an organ associated with the Fire Element.  
  The exhaled air, performed exactly as if doing the Kiai Exercise or Shouting Out 
  A Candle, only slower, must form a column of air around the flame and blow it back 
  toward the handle without extinguishing it. In so doing, it cools the flame and prevents 
  injury due to heat.  
  Do not “run out of air’ before withdrawing the torch. If you do, when it is lit, you 
  will suck the flame down your throat and be burned. That is why there is so much 
  emphasis on breath control.  
  Neither let the torch touch the sides of the mouth, since, even through moist 
  tissues, they can be burned. Touching the roof of the mouth or the tongue elicits a 
  response that closes the mouth. This instinctive reaction smothers the flame immediately. 
  But the lips may be burned by the hot metal handle of the torch. Also, one may gag if this 
  occurs. Other than that, the danger is very slight.  
  
   
  50
  One Snuffs the Torch by quickly closing the lips, not the teeth, around the handle 
  as if clapping the hands. This smothers the flame. Open the mouth and withdraw the 
  torch. Swallow dramatically and the illusion is complete.  
  After much practice with an unlit torch, visualize the flame on the tip and imagine 
  the heat. Pretend the fire is there. This adds to the positive mental imagery of the practice 
  since no injury can occur. But, the user will learn safety by imagining the torch to be lit. 
   
  Igniting the Torch 
   
    
   
   
  A) Hold the torch in the right hand and the lighter or match in the left so that the 
  audience can clearly see them.  
  B) Ignite the torch, making an impressive display of the flame and set the lighter 
  down. 
  C) Let the flame flare by holding the torch vertically for dramatic effect. 
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  51
  Tasting the Flame 
   
    
   
   
  A) Slowly and dramatically lower the torch toward your lips. Open the mouth wide 
  and begin blowing a gentle column of air towards the flame, “pushing it” back 
  from the tip. Note the angle of the torch.  
   
    
   
   
  B) Continue to lower the torch, blowing the flame away from the lips. 
  C) Let the torch pass the lips while maintaining a steady stream of air pressure 
  around the flame.  
   
  
   
  52
   
   
     
   
   
  D) Continue the column of air as you lower the torch past the lips. 
  E) Continue blowing the column of air back as you withdraw the torch.  
   
   
   
  F) For dramatic effect, lick the lips and wipe them with the fingers as if “tasting” the 
  flame or as a simulation of heat and danger. 
   
   
   
   
   
   
  
   
  53
  Eating Fire 
     
    
   
   
  A) Pause dramatically, letting the flame flare again, creating the illusion that all of 
  the flame except the small part visible above the lips was inside the mouth.  
  B) Lower the torch again toward the lips, blowing on the flame as before. 
   
    
   
   
  C) Place the tip of the torch inside the mouth, holding the flames back with the 
  column of air. Then close your lips quickly to snuff out the torch. This only takes 
  
   
  54
  a second. Holding the mouth closed may cause burns to the lips from the heat of 
  the metal handle. 
  D)  Open the mouth and withdraw the extinguished torch. Swallow dramatically, 
  creating the illusion ha the flame has been “eaten.”   
   
   
  When fully confident one may wish to attempt this stunt. Trusted companions 
  should be on hand to witness the experiment and render any First Aid that many be 
  needed.  
  Don’t overdo it. Once successful, many initiates practice incessantly. Like 
  anything else done to excess, this can be injurious. Re-read the section on the effects of 
  Fire in the mouth and use a little prudence.  
  A final note on the torches. When finished, smother them out by placing the tip on 
  a sheet of tin foil and twisting to diminish the flame, then folding the foil over the torch 
  to extinguish them and safely prepare them for storage. The torch, when in use, should 
  not be soaked with fuel. Barely damp is more than enough. As indicated, slinging off the 
  excess until no drops appear usually provides the proper saturation amount.  
   
  LAZY FIRE EATING 
   
   
  For the timid we offer the Lazy Fire Eating Trick. It is performed in exactly the 
  same manner as the former, except it is done with the lighted end of a chopstick or a long 
  fireplace match. Bear in mind that wood burns hotter than gasoline. 
  Perform as previously described, tilting the head, lowering the torch at an angle 
  that permits the flame to be controlled by the column of air. Once inside the Heavenly 
  Pool, quickly close and open the lips on the unlit “handle” above the flame to smother it 
  out. You must be quicker to put out the flame. Also, a certain amount of ash is inevitable. 
  In the case of the Fireplace Match, the tip, made of phosphorus, may glow and 
  become an ember that can fall off in the mouth and burn the tongue. But, even a wooden 
  chopstick is prone to burn rather quickly and drop a bit of charcoal on the tongue.  
   
  The same care must be exercised when doing this stunt as in legitimate Fire 
  Eating. There is no place in magic for carelessness. Not only does it make for a lack 
  luster show, but often is downright dangerous for the performer. Keep in mind that heat 
  rises. This is the reason for tilting the head back, so the throat is almost vertical. Do not 
  be surprised if you develop a sore throat or even if the tonsils swell up when beginning 
  this practice. This is the body’s reaction to greater than normal heat. Just like when you 
  have a fever.  
   
   
   
   
   
   
   
   
   
   
  
   
  55
  FIRE BRATHING DRAGON 
   
    
  We now present the technique known as Fire Breathing Dragon. Certainly the 
  most spectacular demonstration of the Fire Principle and the exclusive symbol of the 
  Black Dragon School.  
  We have shown how the system conforms to the myths, legends and realities of 
  dragon lore. From the gaseous attacks of the Air Element to the mist methods of Water 
  and the powders of Earth, the evolution of this magic has been explained in simple and 
  concrete terms. What better example of the mystic lore than the Fire Breathing Dragon? 
  This single technique is responsible for the fantastic reputation as fighters enjoyed by the 
  members of the Hai Lung Ryu (Black Dragon School). 
   
  For, what could be more terrifying than knowing that any second you could be 
  engulfed in a ball of fire at the command of the Ninja? This, and other techniques 
  contained herein, are the basis for the claims of “no physical contact” being necessary to 
  overcome an opponent made by some schools of Kung Fu in the early days. 
   
  It is not rare, even in this day and age, to see men performing the Human Flame 
  Thrower Technique. A few years ago the streets of Brazil and Haiti were filled with 
  them. They would dash along the vehicular traffic and perform for a dollar. So don’t get 
  the idea it is some ultra secret art that can never be told or understood or discovered by 
  others.  
   
  These individuals may have been using white gas or 100 proof alcohol known as 
  Everclear, used in the manufacture of wine coolers. Even the aforementioned lighter 
  fluid. But, the method is always the same.  
   
  Taking a swallow of fuel the performer would spew out the contents across the 
  top of an open flame like a small torch or lighter. Whereupon it would be ignited and 
  blown into a huge ball of fire. Naturally, this lasted only a moment, but it was impressive 
  nonetheless.  
  Some of the performers would squeeze their cheeks between thumb and middle 
  finger to gain extra distance and pressure and to make sure all the fuel cleared their lips 
  on the exhalation.  
   
  This is the danger. 
   
   Should the performer fail to expel all the fuel completely, he runs the risk of 
  having the flame “back-up” the stream of liquid and set himself on fire.  
   
  THIS IS NOT A GOME! 
  IT IS DANGEROUS IN THE EXTREME! 
  BE CAREFUL! 
   
   
   
   
   
   
   
   
   
   
  
   
  56
  Fire Breathing Dragon 
   
     
   
   
  A) Holding the lit torch in the left hand and a small glass of petrol in the right. 
  B) Keep an eye on the flame as you take a small sip of the white gas. DO NOT 
  SWALLOW! 
   
     
    
   
  C) Set the glass aside and put the thumb and middle fingers on the cheeks to help 
  expel the fluid and wipe the lips if need be. 
  D) Spray a strong, short burst of petrol over the top of the flame to create the fireball.  
   
   
  
   
  57
  SIDE VIEW 
   
    
   
   
  E) Holding the lit torch in the left hand and a small glass of petrol in the right.  
  F) Keep an eye on the flame as you take a small sip of the white gas. DO NOT 
  SWALLOW! 
   
    
   
   
  G) Holding the cheeks between the thumb and middle finger. The torch is held at 
  least 18 inches from the face. Aim your spray at the top of the flame.  
  
   
  58
  H) Blow a mist of flammable liquid across the top of the flame to ignite it and create 
  the fireball.  
   
  Damage to the enemy is usually restricted to singeing off his eyebrows or lashes. 
  Since the burst of the fireball is short-lived. But, in some cases a person’s hair, which if 
  dry or sprayed with hair spray is quite easily kindled, or can be ignited.  
   
  In that regard, the use of any oils or creams on the hair should be avoided since 
  they too are more flammable. Pop singer Michael Jackson’s hair was once set on fire 
  during a commercial shoot that included a lot of fireworks for this reason. 
   
   
  A FINAL NOTE OF CAUTION 
   
   
  As a final note of caution, we shall relate an incident that occurred when one too 
  eager to demonstrate a skill he had not perfected happened to learn how Fire Breathing 
  Dragon was done. 
   
  Remember that in earlier pages it was stressed that one must learn to spit water in 
  sips or streams? Now, we can see the reason for this training. It is a practice method for 
  Fire Breathing Dragon. It must be done. It must be perfected. Otherwise the unfortunate 
  may occur. In Karate it is said, “After a thousand punches a fist is more than a fist.”  
   
  That is because after that much practice it is an automatic action and the objective 
  mind has control over it. In magic, they say, “Practice one thousand times before showing 
  a trick,” for the same reason. That is why we have put such importance on the aspect of 
  breath control. Without it one may easily come to harm. Begin with a SMALL amount of 
  fuel and work your way up.  
   
  Without going into details, suffice to say that the individual in question fell victim 
  to over-confidence. Without sufficient practice he stepped boldly forward onto the stage 
  and spit a mouthful of lighter fluid over a lit match.  
   
  With not enough pressure behind the stream, the combustible fluid sputtered from 
  his lips and soaked his chin. He had held the flame too close to his face as well, and the 
  heat ignited the lighter fluid. Even though it was a small amount that remained, it was 
  more than enough to set fire to his face. The hair in his nostrils burned away, his 
  eyebrows were covered in flame, and his hair caught up almost immediately. Likewise 
  his shirt, which had been doused with the fuel when it was not projected far enough.  
  He tried to scream and in so doing sucked the fire down his throat. Eyewitnesses 
  reported that there appeared to be a whirling vortex of flames spiraling inward as he 
  gasped for breath. Bystanders and onlookers rushed to his aid and prevented him from 
  running, which would have fanned the flames and burned him much more severely. By 
  covering his head with a jacket they managed to put him out and get him to a hospital. 
  Hence the damp towel as a safety precaution for the Fire Eating Trick. He had second and 
  third degree burns; tubes up his nose so he could breathe; tubes down his throat so he 
  could eat; and extensive skin grafts. 
   
  Think about this before you attempt Fire Breathing Dragon. 
   
   
   
  
   
  59
  DRAGON INVISIBILITY 
   
  It is vitally important that anyone attempting to learn these methods do so in the 
  prescribed and progressive manner. One cannot possibly have enough control of 
  respiration to breathe fire if one has not practiced the simpler breath control methods 
  described previously herein. 
   
  Failure to consider the danger involved or disregard the safety considerations 
  inherent in such a dangerous undertaking is not only foolhardy, but also downright 
  stupid. Even saying this, it should be recalled that the Dragon Method is not for all. So, 
  there is no great need to master the more difficult skills such as Fire Breathing, in order to 
  achieve significant results. 
   
  It is not recommended that anyone learn this series of techniques. They are 
  presented merely as a study of an ancient and honorable martial art form and are not 
  intended as a course of instruction. They are a part of the history of Ninjitsu, Kung Fu 
  and Karate. And therefore of some interest to the true student, who seeks to probe the 
  depth and meaning of the origins of the myths and legends associated with the Ninja. The 
  author and publishers assume no responsibility for the use or misuse of this information. 
   
  Fire Breathing Dragon Technique may be the most impressive of the Elemental 
  Methods, but it is not the secret of true invisibility. That will be discussed now. 
   
  We have seen how man ingests various types of energy in the form of nutrients, 
  Air, Water, and so on, even Fire. But, there is a higher level that must still be explored 
  and considered- the spiritual plane. 
    
  Every major religion teaches the same message. Every style of Kara-te has as its 
  goal enlightenment. Even the wandering hermits of ancient China, who may have seemed 
  lost and alone, were following some Inner Path in the direction of Self-Actualization. 
  There is a need and a motivational drive inherent in the human being to understand the 
  universe and his role in it. Upon learning this, one strives toward perfection, which is 
  always just beyond reach. And, one recognizes the limitless potential of mankind.  
  Abraham Lincoln once said, “God could not have created so perfect a work as 
  Man to exist for only an instant. No, Man was meant for immortality.” 
   
  And, this is so.  
   
  Along the Path are other Seekers, each following his or her own course. Some are 
  at higher levels and act as Guides. Those who understand are teachers. And, there are 
  those who have no understanding, who serve as obstacles. In a philosophical sense, 
  however, they are merely students who have not yet grasped the importance of Lessons 
  and Tests. That is why Ninjitsu does not kill them, even if they are violent and dangerous. 
  Because, Change is inevitable. Neither do we seek to measure the differences between 
  these levels, but merely treat each according to its own level. For this reason, the Ninja 
  learns to control himself so that others can be controlled by following his example. But, 
  even to attempt such a course is not for the Many.  
   
  The wisest of ancient Chinese philosophers recognized that most people were too 
  concerned with survival to pursue the Silent Way of contemplation and meditation. So, it 
  fell to the Few to preserve the Art and practice it and share it with those who wish to 
  learn.  
   
  This is why the Ninja are so vicious and savage and terrifying in war and why 
  they are masters of invisibility. So that war does not occur. Understanding oneself makes 
  
   
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  it possible to understand others. When this happens, one is said to have compassion and 
  mercy. The only thing good about a war is when it is over. The sooner the better. But 
  there are those who think that violence is not only an answer, but indeed is the ONLY 
  answer. By attacking others they bring about their own downfall.  
   
  Is it not said, “He who lives by the sword dies by the sword.” And, do not the 
  concepts of Karma and the Eightfold Path teach that whatsoever we send into the lives of 
  others will come back into our own three times? Is it not obvious when all religious sects 
  have some interpretation of the phrase “Do unto others as you would have done unto 
  yourself,” that this is the Way of Peace Harmony, and Universal Brotherhood?  
   
  If we are harsh with ourselves are we not hard on others, expecting them to 
  conform to our idea of perfection? But, is we are gentle and have confidence in ourselves, 
  can we not trust others? And, discover that the “wonder of the Universe is in its infinite 
  diversity and the ways those differences combine to create meaning and beauty.” 
   
  The Quest for invisibility is only one road that leads to the top of this mountain of 
  knowledge. But, it is the same as all the others. With the same chants, guidelines and 
  particular symbols that serve as signposts and mile markers along the way in the gradual 
  process of perfecting the Self.  
   
  Dragon invisibility is the ability to “call upon your anger” to “unleash the demon” 
  within your warrior heart. In tactical combat this expresses itself as overwhelming force. 
  Strike hard, strike fast, no mercy. But, the true warrior wins without fighting. All that is 
  required is to let the enemy see the Dragon within and freeze him with a look. Practice 
  this by imagining that you are breathing fire at the enemy. Fix his gaze and focus on his 
  Third Eye. If your facial expression is sufficiently terrifying, he will “feel the heat” of 
  your Will and be overcome. With a little practice, one need only “narrow the eyes” and 
  project the thought to his mind, to halt him instantly. This is what the Kahuna (shamen) 
  of Hawaii mean when they say you can see a flash of red in the eye of a wizard.  
  When this is accomplished, one becomes a mystic-warrior. One who can fight or 
  disappear.  
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
   
  
   
  61
   
  The Book of 
  AIR 
  “He possessed the power to cloud men’s minds and become invisible…” 
   
  Maxwell Grant- The Living Shadow 1929 
   
  THE BREATH WEAPON 
   
  In his book Secret Fighting Arts of the World, author John Gibley tells the story of 
  a master of the martial arts who had the secret of knocking out his opponent with an 
  attack of Halitosis! This man, he claimed, had long ago decided that he was not one for 
  physical confrontation and so devised a method of creating and retaining in his bowels a 
  particularly putrid odor, guaranteed to bowl over the strongest man by overloading the 
  olfactory lobes of the brain. These are located directly above the nose, virtually 
  unprotected from this type of attack. Hence the profound effect of tear gas, mustard gas, 
  adamcite, and other airborne agents. The olfactory lobes actually extend out from the 
  underside of the brain and are almost like antennae whey seen in dissection. 
  Gilbey, not detecting any offensiveness on the part of this individual asked him to 
  demonstrate. Whereupon the master belched in the face of the author who promptly 
  passed out. In many ways this is similar to the Blow-In-The-Face technique, except that 
  relies on tactile stimulation of the eyelids. Whereas this one acts directly on the nervous 
  system.  
  For those individuals whose education was so limited in childhood that they did 
  not learn how to belch on command, we include the following technique known in 
  Chinese medicine as Swallowing Air, and is used to expel noxious gases from the 
  stomach that may result from contaminated food or poor digestion. Since the stomach is 
  inflatable, being a Yin or hollow organ, take a deep breath and swallow, or inhale while 
  swallowing, to fill it with air. The Hiatal Sphincter at the level of the solar plexus is the 
  constricting muscle that prevents the contents of the stomach from regurgitating during 
  digestion 
  It is also this stricture that traps gases in the stomach that are produced by the 
  chemical reaction of foodstuffs and digestive acids. Heartburn is a condition resulting 
  from an overproduction of such gases and pressure on the Hiattal area. As sufferers will 
  attest, a good belch will often relieve this pressure and the pain will subside. To practice 
  
   
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  burping, gulp down a carbonated soft drink and regulate the amount of gas expelled each 
  time by gently tensing the belly.  
   
  Dragon Breath is a technique not unknown is the wrestling arena. Furthermore, in 
  gladiatorial times, some contestants would purposely not bath for days prior to a match, 
  making it unsavory to grapple with them. Relying on this psychological advantage, some 
  lived on to win freedom, if not popularity. In the same way using distasteful oils and foul 
  smelling necklaces of garlic inhibit an enemy’s aggressiveness because he is 
  uncomfortable and unfamiliar with this type of an attack.  
  It is worthwhile to practice belching technique even if one has no wish to develop 
  the chemical formula that goes with it. Since it will be needed in the final stage. The 
  Book of Wood.  
   
  SILENT KIAI 
   
  In Karate at the conclusion of the Kiai, the abdomen is taut and most of the air has 
  been forced out of the lungs by dynamic tension. In the same way, learning how to expel 
  a ball of air from the abdomen makes it possible to snuff out a candle from a much 
  greater distance than by blowing on it. This is accomplished by holding the mouth open 
  in the same manner as used to “shout out” a candle rather than pursing the lips as in the 
  first method.  
  Stand facing the candle at arm’s length in a Horse Stance with your mouth open. 
  Inhale deeply, tighten the belly and project the Qi at the flame by sharply contracting the 
  abdomen. This will send out larger amounts of air than would puffing through the lips 
  with the diaphragm. In martial arts, this is called the Silent Kiai or Dragon Breath. It is 
  considered a “gas” attack, thus it’s classification with the Air Element.  
   
    
   
   
  A) Practice this form of Haraki standing in a Horse Stance with fists on hips. Inhale 
  deeply into the lower belly.  
  B) Open the mouth and expel a ball of gases from the Hara with a single sharp 
  tensing of the belly rather than a stream or column of air. Do this imagining the 
  
   
  63
  syllable “Haa….” As before, making no audible sound. This is a function of the 
  mind and the imagination. Both symbolized by the Air Element. 
   
   
  NINJA MIND CONTROL 
   
   
  The “power to cloud men’s minds” is the goal of the Dragon Style Invisible Fist. 
  To “put the idea of Fear into the mind of the enemy” and make him reconsider his acts 
  without resorting to physical force or restrain him to make him more reasonable.  
   
  To accomplish this the Ninja looked to the next element, Air. The Sky Dragon 
  techniques include jumping and flying kicks seen in other martial arts styles, as well as 
  circular fist techniques based on the wing-flap action of the flying dragon and the Poison 
  Gas Breath, described earlier in this section. The primary symbolism employed, however, 
  is that of Air representing the Mind. For that reason, the techniques of HsiMenJitsu 
  (“sigh-men-jit-su”) the Way of the Mind Gate, are classified and taught at this level. They 
  include psychology, hypnosis and illusion.  
   
  Bear in mind that the Chinese dragon is much different from the European 
  version. The latter was always guarding virgins or gold or both- items for which he had 
  no use whatsoever-usually at the behest of some evil wizard. While in Chinese 
  astronomy, the constellation known as Red Dragon, a sign of coming rains and rebirth 
  appears in the night sky every Spring. In Ninjitsu the term “riding the wind” refers to the 
  various exercises used to develop telephathic abilities of the Sky Dragon. 
   
  THE TRANCE 
   
  The best opportunity for using this technique is during a group discussion of 
  Ninjitsu or psychic power when the mood is already established. Select a volunteer from 
  the group. Sit quietly for a moment to create a relaxed state. Then simply tell the subject 
  that when you say the magic word, or cue, he will be in a relaxed, trance-like state for a 
  few seconds and will not see you move out of his line of vision. When the subject blinks 
  and comes out of this post-hypnotic suggestion, the Ninja seems to have vanished before 
  his very eyes! 
   
  Of course, onlookers are treated to the show and are amazed at the effectiveness 
  of the technique. Notice that no magic power is alluded to in the hypnotic state, only a 
  simple instruction, usually less than nine words and seldom more than three.  
  The subject, like many who participate in stage hypnotism acts, may later claim 
  that he was just “going along with the gag.” But, the technique was nonetheless effective 
  and is a crowd pleaser. After all, why should the subject go out of his way to make the 
  magician look good? Perhaps because he too believes on some level that the Ninja has 
  some secret power and that if he plays along he may gain same insight into this greater 
  mystery for himself. Thus, it becomes a matter of enlightened self-interest. 
  This is like another “mental” trick in which an unprepared spectator is asked 
  onstage and told to choose a card from a display. A prediction of which card will be 
  chosen has been previously written down and recorded. When the spectator goes behind 
  the display table to make his choice, he sees that one card is lying on top of a dollar bill. 
  Guess which one he will pick! 
  
   
  64
   
  Could it be that he is actually powerless for the moment to prevent the 
  “command” sent to him by the mentalist? If that is the case, then any later claim of denial 
  is actually a defense mechanism designed to “save face” and self-esteem. To be sure, it is 
  as plausible explanation as any other.  
   
  For the Ninja, it matters not one bit! Regardless of which explanation is true, as 
  long as it is an effective technique, it should be studied, evaluated, and experimented 
  with. Just the ability to mentally transmit the command Blink! would be enough to let the 
  Ninja escape. And, among the Wind techniques of the Ninja such tricks as the Mind 
  Whip and Blank Wall Meditation, based on the same principle of suggestibility, are 
  included.  
   
  HYPNOSIS 
   
   
  Like all physical techniques, mental ones require a certain amount of practice and 
  preparation. Hypnotism is only one such tool in the Ninja arsenal. 
   
  Inducing a Trance 
   
   
   
   
  The Subject and the Ninja sit facing each other in Seiza, the Kneeling Meditation 
  Pose. The Ninja fixes the gaze of the Subject and has him take a few deep breaths in 
  harmony with him to develop a feeling of rapport and relaxation The Ninja speaks in a 
  soft, hypnotic tone, speaking only to the Subject and ignoring any outside distractions. 
  This cues the Subject to do likewise.  
  The Ninja places suggestions of relaxation and sleep in the mind of the Subject. 
  He does this using alliteration, emphasizing certain sounds and syllables. In this case the 
  same one used to dispel fear, the sound of the Air Element, the “Shhh…” or Wind Breath 
  sound. He likewise harmonizes his breath to that of the Subject, then slowly changes the 
  pattern to one of slow, deep, relaxing respiration.  
   
  
   
  65
   
   
   
    
   
   
  With a simple hypnotic gesture, the Ninja has the Subject close his eyes. Note that 
  the downward action and the proximity of the fingertips to the subject’s fact, as well as 
  the rapport and avoidance of outside distractions, not only to induce but virtually compel 
  him to comply with the simple command. The subject is now, technically, in a light 
  trance. He has not yet psychologically demonstrated his trust in the Ninja not to injure or 
  embarrass him as long as he participates in the experiment. Having closed his eyes, he is 
  now dependent on the Ninja for direction. He closed his ears when he began ignoring 
  distractions. Now he must “feel” his way and depends on the Ninja to guide him.  
   
    
   
   
  The Ninja then performs a simple test to insure that he Subject is “hypnotized” 
  and to demonstrate to the onlookers that the Subject is “under his spell.” Psychologically, 
  this is when the Subject “proves his loyalty” by following orders without question.  
  Of course, he would not have volunteered in the first place unless he was willing 
  to participate. Or, as a trap to embarrass the magician. 
   
  The Ninja could be directing him to put his hand in a fire. He cannot see, so he 
  does not know what he is doing. Nevertheless, he trusts the Ninja achieved through the 
  suggestibility stage, and so will now obey simple commands. This is a powerful position 
  of trust and should NEVER be abused. To do so is to invite misfortune. 
  
   
  66
  The Arm Levitation test determines the degree of compliance of the Subject. 
  Specifically, he will be raising and lowering his arm on cue. But, the Ninja first makes 
  him aware of the coming command and builds up to it slowly with his suggestions of the 
  Subject’s arm (right or left) feeling light. This can be easily suggested if the relaxation 
  exercise also suggests that the body feels light. Then the Ninja gradually suggests that it 
  is so light that it is floating.  
  “In fact, you can almost feel it floating now…it is so light that it IS 
  floating…don’t resist it…let your arm lift upward…slowly…carefully…easily…” He 
  continues until the command is obeyed, or the Subject breaks off, no matter how long it 
  might take. All warfare, even mental, is a matter of stamina.  
   
   
    
   
   
  When everyone is satisfied that the Subject is hypnotized, give him praise for 
  relaxing and letting his arm float, which rewards the effort, and then suggest that his arm 
  is returning to normal now, that it is normal and let it settle back to his side.  
   
  After placing the post hypnotic suggestion in the mind of the Subject, that he will 
  return to the trance and not see anything for five seconds when he hears the cue-word, the 
  Ninja directs him to forget all memory of the hypnotic state until a specific cue is given. 
  He then awakens the Subject by counting up from one to three or by clapping the hands 
  softly.  
  One safety precaution usually inserted near the beginning of the hypnotic trance is 
  that the Subject will fall into a light sleep from which he can be awakened any time by 
  touching him on his left shoulder. If need be he can be roused by gently shaking his 
  shoulder.  
   
  Upon ending the trance the Ninja questions the Subject to insure that he will obey 
  the post-hypnotic suggestion by a) pretending that the entire experiment was merely a 
  relaxation exercise and eliciting a verbal response. That impresses the Subject into going 
  along with the lie. Again, “proving “ the psychic power of the Ninja/Hypnotist and 
  insuring that the subject will continue to “play along.” Or, b) by thanking him for his 
  participation and eliciting a verbal response that he feels better and more relaxed than 
  before. Either summation may be employed. The Key is for the Subject to agree with 
  what the Hypnotist says even after the “trance” has ended. 
  
   
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  The Ninja congratulates the Subject on his success and performance and tells him 
  the experiment is concluded. They may now stand up.  
   
  THE CUE 
   
   
  After being seated for even five minutes you may find that standing causes a 
  sudden feeling of light-headedness as the heart must accelerate to pump blood higher to 
  the head, and the blood that was “squeezed” out of the legs by kneeling must be replaced. 
  So, one should stand up slowly. This, however, is an excellent opportunity to take 
  advantage of this momentary mental confusion and cue the Subject because his vision 
  will already be somewhat dimmed and the blood rushing to his head will disorient him. 
  Also, the quicker the cue is used, the more likely it is to be effective. The longer you 
  wait, the greater the chance he will forget it or stop waiting for it. Furthermore, the 
  rapport that was established during the trance is still in effect to some degree, although 
  this too fades with time.  
   
  Stepping Our of Sight 
   
  The Ninja gives the subject the same visual cue used to have him close his eyes, 
  that of wiping the hand downward in front of his face. Unlike using this gesture to make 
  him blink so you can duck away as in a previous technique, the gesture to “close the 
  eyes” may be used at a great distance, since the intention is to confirm his compliance to 
  the verbal contract rather than physically compel him to blink by proximity of the hand to 
  his face.  
   
    
   
   
  Next he gives the verbal cue, which is stronger and for which the subject was 
  prepared through the hypnotic gesture, and returns him to the Trance. The verbal cue may 
  be a simple word suggestion like “Sleep…” Or, may be a “magical”/nonsense word like 
  “Afghanistan Banana Stand” or other gibberish that would not ever be heard in the “real’ 
  world. Such a magical word would be suggested to the Subject during the trance state.  
   
  
   
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  The hypnotic trance-like state is indicated by the fixed gaze of the Subject. 
  Remember, the blood is rushing to his head, his vision is blurred and he may be slightly 
  off balance. He is given the preparatory command, then the command of execution for a 
  test he didn’t not expect so quickly. His eyes are still open, so they may “roll” out of 
  focus as he stares blankly ahead, unmoving, which gives him a chance to recover his 
  senses. He may or may not actually “see” the movement of the Ninja as he steps out of 
  sight behind him. But, he does not move or react because that would violate the verbal 
  contract entered into when he volunteered. 
   
    
   
   
  The Subject, acting on the post-hypnotic suggestion returns to full wakefulness in 
  accordance with the secret instruction given him by the Ninja and looks around in search 
  of the Ninja, who appears suddenly to have vanished. 
   
    
   
   
  The Subject will not see the Ninja again until he wishes to re-appear, gives the 
  next cue if there be one, or steps into view dramatically. Thus, concluding the 
  demonstration.  
  
   
  69
  Finish with a bow to the Subject which he may or may not return. Your way of 
  thanking him for his cooperation. “Also bow to the audience so they will know you are 
  finished and can applaud…” Old Magician Saying. 
  Thus you have taken another step in learning the “power to cloud men’s minds.” 
  The fifth level, the Book of Wood, will enable you, without the hypnotic ritual, to project 
  a mist or fog into the mind of any foe so that you will be invisible to the eyes of men and 
  genii. There is, however, still a bit more to learn about Air. 
   
  THE VOLUNTEERS 
   
   
  Magicians and Mesmerists are quite fond of making magical passes over the body 
  and directing its energy with their hands. Some of this is showmanship and misdirection. 
  Hypnotists use visual cues and directions, while faith healers maintain that a subtle 
  magnetic field surrounds the body and that this field may be manipulated by the 
  electrically charged palms or fingers of the physician. 
   
  In the case of actual stage hypnotism, the master of the mystic arts selects a group 
  of volunteers from the audience. Most of these people are extroverts who enjoy 
  participating in events for which they can receive applause. Shy people don’t volunteer 
  and are seldom even coaxed onstage. Nor should they be, because their own self-
  consciousness will contribute to clumsiness and a half-hearted effort.  
   
  It should be recalled that the stage is the “home court” of the magicians. While the 
  average theatergoer is relatively uncomfortable there. This, together with the 
  preconceived notion that the performer is somehow endowed with mysterious powers, 
  combines to create the impression that the magician has control of the situation in the 
  minds of the viewers and participants. This is, of course, true. He is in command, partly 
  because he chooses to be, partly because he chooses the volunteers. And, it doesn’t take 
  but once to spot a smart-aleck looking to upstage you.  
   
  Upon this pool of volunteers he performs a series of simple tests to determine if 
  they will follow his directions and which obey the best. If they compete with him they are 
  “allowed” to go back to their seats and enjoy the rest of the show. From the remaining 
  group, he selects a few who will play the part of clowns and actors at his stage direction. 
  He then puts them through a set of simple commands designed to entertain the audience 
  and let the players have a bit of fun.  
   
  Almost always the hypnotist states at the outset, “I will not injure or embarrass 
  you in any way, as long as you assist me in this demonstration of the hypnotic art.” This 
  is a verbal contract to which both agree. The hypnotist then gives the person his 
  permission to act silly, dance, sing, react to imaginary heat or cold, withstand tests of 
  strength, pain, and leverage, or impersonate famous personalities. The hypnotist must be 
  able to deduce which of the volunteers are able to do this and which celebrities they can 
  imitate. The permission to do this is conveyed to the audience by the hypnotic pass, 
  waving the hands before his eyes, verbal suggestion, speaking in a low monotonous voice 
  or counting backwards. All may be used and all contribute to the rapport between the 
  hypnotist and his subject(s). 
   
  The audience is vicariously relaxed as well, since each person theoretically 
  empathizes with one of more of the players. This puts them in a receptive mood to 
  believe what is said onstage. It is what is known as “suspension of disbelief.” The 
  
   
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  audience agrees not to look too closely for flaws and allows itself to be amused by the 
  antics of those who have surrendered their will to the stage director or hypnotist.  
   
  Actually, when questioned later, almost everyone of the volunteers will claim the 
  he or se did feel a bit relaxed but never really felt under a spell of any sort. They were 
  just “going along with the gag. But, some of the others were really under.” Whether this 
  is true or not is always debatable, since the effect is the same either way. It really makes 
  no difference because the goal was to put on a good show and if everyone believed he 
  was “hypnotized” then so much the better.  
   
  The only real danger lies in using volunteers who try to steal the show by 
  upstaging the hypnotist. This can lead to a verbal, even physical, confrontation. But, the 
  usual result is that the smart-aleck makes faces and mocks the hypnotist behind his back. 
  At the very least it is disruptive, although it can be entertaining.  
  The magician or hypnotist usually awakens his volunteers with a snap of his 
  fingers. If their eyes are closed, this is an auditory signal to open them. Of course, he tells 
  them what to do verbally beforehand and may even count upward from one to three so 
  that they are not startled by the sound. If the eyes are open, this is the signal for them to 
  blink, giving the impression of waking up from a nap or light sleep. All this adds to the 
  illusion of having psychic control of the subject’s mind. When, in reality, it is a series of 
  simple stage directions and psychological leverage. 
   
  FINGER SNAPPING DEFENSE 
   
  To the Ninja, the self-defense application of this technique lies in snapping the 
  fingers in the face of an opponent or attacker to make him blink. The eyes have the most 
  sensitive nerve endings in the body. Much of the nervous system is devoted to responses 
  that protect the head and eyes. Blinking when a sharp sound is made near the face is only 
  one of them. 
   
   
  Finger Snapping 
   
    
   
   
  The aggressor makes a threatening or dominating gesture. From this range he 
  could easily use a Single or Needle Finger poke to your eye, which is as good a blinding 
  
   
  71
  technique as any given here. Boxers sometimes use the thumb of their glove to blur an 
  opponent’s vision by “thumbing him in the eye” from this distance. 
   
  Finger Snapping  
   
    
   
   
  Deflect the attacker’s hand. Do not slap it away, as this would be an escalation of 
  the confrontation. Simply swing your hand upward at moderate speed with your fingers 
  in a preparatory position to snap until they come into his line of vision at about nose 
  level. In Shotokan Karate, this is called a Shoulder or Middle Block. Snap the fingers as 
  close to his nose as possible. The idea is to get as close as possible to the target without 
  appearing to be a threat. Note that until this moment you were still out of effective 
  striking range.  
  Immediately turn your hand palm down and stab your index and middle fingers 
  into his eyes to blind him with the Two Dragons Seek the Pearl Technique, also known as 
  the Finger Jab. Do not stiffen your fingers. It is unnecessary and may cause injury to the 
  user as well as the aggressor. 
   
   
   
  A miss will make him blink if he did not do so when you snapped your fingers. A 
  light blow will cause eye watering and temporary pain. A poke will do the same, plus 
  cause shock and trauma to the eye. A stab accomplishes all of the above as well as 
  
   
  72
  lacerations from the fingernails. A thrust causes dislodgement or collapse of the eyeball. 
  Withdraw your hand immediately. For the technique to be effective, one must practice 
  ducking out of sight as soon as this reflex is elicited. Better to look back and see how 
  badly he is hurt when safely out of range-depending on the threat level. 
   
   
  THE EYE FLICK 
   
   
  A technique based on the same involuntary blink response is the Eye Flick. This 
  was first introduced to the American public on the TV show Longstreet, starring James 
  Fransiscus as the title character. 
   
  During several episodes, the famous martial artist Bruce Lee was a guest star. He 
  was introduced as a Kung Fu expert to whom Longsttreet turned to learn self defense 
  after he was badly beaten up by a dock worker. Mr. Longstreet, a New Orleans attorney, 
  had been blinded by a bomb but continued to right wrongs and punish evil-doers.  
   
  Lee showed him a variety of techniques, throws, takedowns, knees and elbow 
  strikes that could be used by one so handicapped. All honed and practiced as much as 
  possible in one sixty-minute drama, and all tailored for use by a blind man.  
  The one technique Longstreet refused to use was the Eye Flick. He would not 
  endanger the opponent’s sight since he had lost his own. 
  He did eventually settle the score with his adversary, returning to the harbor to 
  look him up for a rematch. After a few false starts he was “forced” to use the Eye Flick to 
  save himself and win. But he did win! The lesson is that at the time and place where you 
  make such a stand, if you ever have to, you must determine how much force is required 
  and be desperate enough to use it to survive. And realize that whatever you did must have 
  been the “right thing” to do because it is what you did at the time and cannot be undone. 
   
  Eye Flick 
   
    
   
   
  Stand with your shoulder toward the opponent in the Hidden Fist Stance given in 
  the second chapter so you present a smaller target, left palm covering right fist as though 
  the right will be the weapon. This is a follow-up to the alternative method of delivering 
  the Buffalo Knuckle or Phoenix Eye Fist.  
   
  
   
  73
   
   
  When the enemy punches, deflect his arm by shifting or stepping diagonally 
  forward and letting it strike your lead shoulder. This puts you in range for striking with 
  your lead hand. Note that this is the opposite of the Water Step (diagonally backward). 
  This is diagonally forward off the line of engagement. Thus Water and Air are both 
  “circular” in nature. Swing your left hand out and around as when using the Hand Flash. 
  Note that in that example the enemy threw a left punch while in this one he throws a 
  right. Observe that this is virtually the same technique against both punches. The only 
  difference being that this strike is “inside” his defense instead of “outside,” blocking his 
  attack downward. The wrist is bent as in the Kasumi Method with the fingers hidden 
  (curled back out of sight), forming the Chicken Neck Fist, which uses the back of the 
  wrist for blocking and striking.  
   
   
   
   
  Suddenly stop the arc of his left arm and flick the backs of your fingertips to 
  strike his eye from the side. This is much less likely to cause injury, but guarantees that 
  he will blink. This may be used as a probing attack jab or a vanishing technique, or 
  followed up with the stunning Phoenix Eye Fist, or used simple to make him blink so you 
  can duck out of sight. 
  Note also that both of these principles are circular in nature, in keeping with the 
  symbolism of the Five Element principles. As is customary, the practice method is 
  Snuffing Out A Candle with the Hand-Whip or Eye Flick.  
   
  The Eye Flick is difficult to deflect or block because of the sudden acceleration of 
  the fingers. Like cracking a whip, all the motion of the arm is transferred to its tip, 
  providing a sharp snapping motion. Since this is initiated at a range of about three inches, 
  it is much to fast to see. Hence the saying, “the hand is quicker than the eye.” One-fiftieh 
  of a second to blink is pretty fast.  
  Let the recoil of the finger whip bring the hand back even faster than it was 
  whipped out, safely out of range and prepared to lash out again if need be, or launch the 
  real attack. This motion is exactly like the Karate Backfist, in which the strike is 
  
   
  74
  delivered with the backs of the first two knuckles. The popping, snapping motion of the 
  punch is so deceptive that it is forbidden in the professional Boxing ring.  
  Although Muhammed Ali used it extensively as a sort of swatting, brushing jab. 
  Not only to confuse his opponents by making himself hard to see, but also infuriating 
  them by constantly rubbing his glove in their face. Even though these punches did not 
  score points or have a telling effect, they were, nonetheless, excellent examples of using 
  the Invisible Fist.  
   
   
  FLICKING OUT THE CANDLE 
   
   
  The practice method is flicking out the candle. By this time, having developed 
  this skill with several other fists, you will find this one much simpler. The force of the 
  wind generated by this fist is much larger and stronger than a closed fist. See how easy 
  invisibility can be?  
   
    
   
   
  Stand with your shoulder aimed at the candle in Mi Chuan or Hidden Fist Stance. 
  Relax your wrist and let your hand drop limply away from covering your right fist. 
  Tighten your belly.  
  Strike out on the exhalation, aiming the back of your wrist at the target. With your 
  fist closed, your hand is four to six inches shorter than with the fingers extended. With 
  the fingers extended and the wrist curled back, the hand is eight to ten inches shorter than 
  the full reach of the fingertips. The eye of the opponent, will see the back of your wrist 
  and act in response to its distance from his eye in terms of spatial distance and speed, 
  allowing your fist to penetrate his defenses deeply before he is aware of it.  
   
   
   
  
   
  75
    
   
   
  Whip your fingers toward the flame, snuffing it out with a quick snapping action 
  Punching out candles like this is known in Chinese medicine as the Scholar’s Exercise. 
  When your arm is extended but your elbow not locked straight out, flick the backs of 
  your fingertips to simulate striking your opponent on the temple or ear. By overshooting 
  in this manner, you virtually assure that you will at least strike the side of his nose, even 
  if he is skilled at slipping punches. Most people, even boxers, will react to a hand coming 
  at their face with a ducking or blocking motion as soon as the attack is perceived. Therein 
  lies the key to this technique. The fingertips are actually closer than the hand appears to 
  be. 
   
  BREATH WEAPONS 
   
  One final word should be said regarding the use of the breath to propel missiles 
  other than the green mist alluded to earlier. Notably, very short blowguns are used by 
  some Ninja Ryu to shoot tiny darts at the eyes of an opponent. The Ninja also practice the 
  technique of Spitting Needles by curling the tongue into a shallow trough or V shape and 
  placing the dart in the tunnel so formed for easy launching. 
  An easier method is Spewing Caltrops from the mouth, but again, these sharp 
  little three corner nails must be carried in the mouth most of the time and always a 
  present a danger of being swallowed accidentally. Plus, they interfere with respiration.  
  These are but a few of the methods used by the Ninja of feudal Japan to protect 
  their identities. If they were captured, any attempt to remove their masks would result in 
  the expulsion of any one of several projectiles into the eyes of the enemy. Not only 
  making identification difficult, but also providing an opportunity to escape by vanishing.  
   
   
   
   
   
   
   
   
   
   
  
   
  76
   
  The Book of 
  WOOD 
   
  Thusfar we have described four of the five primeval elements, Earth , Water, Fire, 
  and Air. They are taught in that order because this is the sequence in which they appear 
  naturally on the fingers of the hand. In Kuji Kiri, the finger-knitting exercises of Ninja 
  meditation, the initial exercise is to place the fingertips together to connect the psychic 
  channels and acupuncture meridians of the hands for health and longevity. The pinky or 
  little finger represents Earth; the ring or third finger represents Water; the middle finger is 
  Fire and the index finger is Air. They are joined in that order. The thumb symbolizes and 
  connects the channels and meridians that relate to the Wood element and is touched last. 
  The palms are then pressed together to connect the Dragon and Tiger Cavities in the 
  center of each to form the Praying Hands Mudra, found in every religion throughout time, 
  even today. 
   
  Of the Five Elements, two, Earth and Fire, are considered by Chinese scholars to 
  be linear in the direction and nature of their operation. Earth is solid, like a mountain and 
  cannot be moved or uprooted. While Fire is an advancing, consuming force, driven by 
  Wind, appetite, fuel, i.e. Wood. This is a fundamental concept in the Law of the Five 
  Elements, the basis for both military strategy and Chinese holistic medicine.  
  In accordance with the Chinese pattern of categorizing things in corresponding 
  pairs of opposites, it then follows that the other two, Water and Air are circular in nature 
  and this can be clearly seen by watching water flow in and around obstacles and Air 
  blowing through open spaces. Both follow the path of least resistance, whereas Earth and 
  Fire offer the most resistance. One by refusing to be moved or changed and the other by 
  moving and changing everything it its path.  
  Balance then, between and among these forces is represented as a spiral- circular 
  motion about a linear axis. To primitive man, who first codified these principles, the best 
  way to symbolize this type of motion was to refer to Wood, since the tree grow upward 
  with its leaves and branches and downward (linearly) with its roots. The point of 
  intersection between these two vortices is the ground. Just as it is with any whirlpool or 
  tornado, which are also spirals. The tree also grows in girth in a progressive ring pattern, 
  showing the circular action of the wood about its linear core. Together, linear and circular 
  motion represent spiral motion, a pattern of the universe that is only now being 
  recognized by modern science the electromagnetic forces of life itself such as DNA. The 
  ancients, however, new it all along. 
  
   
  77
   
  Those who follow the Silent Way recognize that it is only one way and that 
  becoming an inferno of rage is only one part of it- the Fire part. One must also have 
  Water, the empathy to understand why this person has become so unbalanced that he 
  must resort, usually in frustration, to physical violence. Also essential is the Mind Sword, 
  the power of the mind, the Air Element, to bridge the gap to him and prevent him from 
  injuring himself or others. Nor is Earth to be neglected. This is the physical bridge 
  between psychological and tactile. 
   
  Wood then represents the penultimate techniques of the Invisible Fist system. The 
  highest expression of the principles upon which any subject, medicine, philosophy, or 
  combat so classified can be presented. Because it is a combination of all the “lesser” 
  elements that interact to form the spiral pattern of the Universe. 
   
  Thus it can be seen that in the symbolic lexicon of the ancient Ninja masters, 
  Wood represented the ultimate expression of harmony with Nature and was used to 
  designate the highest level of technique. The expression of this is found both in the 
  martial arts applications and in the philosophical teachings that form the foundation of 
  Chinese medicine and meditation, the “other side” of the Ninja coin. For not only are 
  they the most fearsome shadow-warrior fighters, but also the most efficient healers.  
  To develop all these qualities in coordination, the Seeker must make the Inner 
  Journey. Only in this way can one come to “know thyself.” Only then can one know the 
  rage that all humans are capable of and the compensatory compassion to balance it. Only 
  then will one realize that the “enemy” is only pale reflection of the Self, as yet unaware 
  of its motivation or place in the Universe.  
  The one who has made this journey then has the duty to share this knowledge 
  with ten others. Not all need it, not all want it, not all seek it. Sometimes, however, you 
  meet another Seeker when he makes a challenge and you recognize yourself at his stage 
  of development. Be gentle. Hurting him is only a way of hurting yourself. In fact, some 
  people lose a fight because they would rather hurt themselves or let someone else hurt 
  them than harm anyone else. This is self-destructive; the opposite of being overly 
  aggressive. Moderation in all things.  
   
   
  HARNESSING THE WILL 
   
   
  These techniques of behavior modification used for the development of self-
  confidence are not limited to the martial arts. Indeed, they are found in all self-help books 
  on every topic from losing weight to stopping smoking. All that is required is to tie the 
  desired outcome to the appropriate cue and wait for an opportunity to try it out. It is as 
  automatic as the eye blink response whereby invisibility on the physical level is achieved. 
   
  Ninja are taught that if the enemy is angry (Fire) one can fan the flames of that 
  anger and cause him to over-commit to his attack or even become so enraged that he is 
  unable to attack, by using taunts that play on his fears. This is considered an application 
  of the Wind Element (intellect) to Fire (anger). Conversely, one can extinguish the flames 
  by using Water (emotion) by appealing to the enemy’s self-interest, or through 
  expressions of sympathy and support with the counsel of patience. This gives the 
  aggressor a way out with dignity- the path of least resistance. This system is known as the 
  
   
  78
  Five Feelings and Five Desires of HsiMenJitsu and is, like everything else, based on the 
  Five Elements. 
    
  The information and techniques given here are no mystery. They are just usually 
  so covered with promises of success that they become diluted and lost. This is the way to 
  become the master of your fate, to have the power and responsibility for your own life 
  instead of being a puppet dancing on the strings of the few. That is why it has been kept 
  hidden- until now.  
   
  No matter what the goal, if one sets out for it and perseveres in a single-minded 
  manner, it can be achieved. Anything is possible if you have enough time and will power.  
   
  You have learned many new things and acquired many new skills. After those 
  accomplishments, few other challenges can stand in your way. For now you know that 
  the Dragon is within you, that when the need arises you are the Dragon. You have also 
  learned to harness your Will, to be patient, and to endure. These are not powers to be 
  taken lightly. Prisoners of war have told of how they saved their sanity by building a 
  “dream house” in their minds. Dwelling on every detail of construction kept the mind 
  occupied and prevented the prisoners form going “stir crazy” bemoaning their helpless 
  predicament. Now, you too, have this mental Fortress of Solitude. 
   
  Part of the process is the study and exploration of unfamiliar or seemingly strange 
  realms or arts such as Ninjitsu, so that no possibility, however remote, is overlooked in 
  the quest for understanding. Also part of this process is “creating a ritual’ a set of cues, a 
  pattern that will lead to the desired result, like the Cha-no-Yu (Tea Ceremony) or the 
  practice kata of a swordsman. It should be simple and elegant so that it can be easily 
  performed, allowing the mind to dwell on the history, etiquette and symbolism of the 
  artifacts.  
   
  The largest part of the process, however, is in its practice. The Old Ones knew 
  many ways of teaching and of thinking, but they were also aware of spontaneous insight 
  gained by hours of rote repetition, it is this sudden realization that is called 
  enlightenment. 
   
  The internal work of ancient Chinese alchemists is often mistaken for magic. 
  Indeed, the scrolls that describe the process of turning lead into gold were completely 
  misread by the medieval scientists who “discovered” distillation from the Chinese. They 
  were, in fact, texts on the collection, cultivation and circulation or the vital life-force. 
  Lead, gold, and mercury were symbols of the Qi and the extraction of its essence can be 
  used on many levels. They did not refer to the actual elements. In fact, it is said that the 
  First Emperor of China Huang Ti died of Mercury poisoning, taking “magic pills” that 
  contained mercuric compounds in an effort to achieve immortality. Likewise, constant 
  experimentation with the distillation process  is probably why so many alchemists of old 
  were alcoholics. 
   
   
  MAGIC SPELLS 
   
   
  Spell casting or ritual magic is an important aspect of HsiMenJitsu, the Way of 
  the Mind Gate. One must take care not to program negative thoughts of emotions as these 
  are harmful not to the supposed victim of the spell, but rather to the spell-caster himself. 
  The person you wish to injure today may be friend next week. Then if he should come to 
  
   
  79
  harm, you will feel guilty. This is true even if one puts great store in the theory of 
  coincidence. Which would maintain that you wished for something to happen because it 
  was meant to happen anyway. It always comes back to haunt you, therefore, most magic 
  spells are for self-improvement by acting out the mania that causes it without harm to 
  others.  
   
  Many magic rituals begin with a Banishing Ritual. The scribing of a magic 
  pentagram (Five Elements Symbol) on the floor to “protect one from demons” for 
  example. It is not, however, any external force that threatens the user of magic, it is the 
  creatures of the Id, his own selfishness, greed, cruelty, and so on. These are the internal 
  dragons that must be harnessed if one is to know oneself.  
   
  Most spells have three or more components. A magic word (mantra, incantation 
  or verbal component); a talisman, (symbol, artifact, of visual component); and a gesture 
  (kinesthetic, mudra or posture). Some also require representations of the Five Elements. 
  Cups for Water, wand for Fire; sword for Air; coins for Earth and the lemniscate or Sign 
  of Infinity, a figure-8 lying on its side, to represent Wood.  
   
  Magic spells are not bestowed by supernatural powers. The only force capable of 
  doing so is the will. Beseeching malevolent of benevolent deities is merely a request to 
  let yourself please yourself. 
   
  Magic spells do confer magic powers however. But, these are the result of 
  patience, practice, and perseverance on the part of the Seeker. To learn and memorize the 
  components and materials needed, to select the symbols of greatest significance and to 
  assemble them for the ritual experience. Obviously consultation with other experts and a 
  certain amount of note-taking is required until one becomes familiar with the principles 
  of magic. 
   
  Spells work in direct proportion to the number of times they have been successful 
  in the past and the significance of their component symbols. The effective range of a spell 
  is determined by the level of skill of the operator. The more experience and power one 
  can generate and transmit, the greater the efficacy of the magic.  
   
  Most spells operate only within the sphere of influence- that is to say, inside the 
  imaginary shell of energy that surrounds the body, like an aura, at about arm’s length. 
  Some spells require physical contact -touch- to be effective. Some a personal item of the 
  object of the spell imprinted with its genetic code.  
   
  Duration is also affected by the ability of the spell caster. Generally speaking a 
  spell once cast lasts as long as the concentration on it is held. Likewise, the amount of 
  time required to launch such an effect, including the preparation and arrangement of the 
  components is reduced with practice. Some spells work immediately, others take a little 
  time.  
   
  Some spells don’t work on some people. Strong emotions such as anger or fear 
  can prevent a purely mental effort to bring about change. Love is the strongest force. A 
  spell motivated by love cannot fail, nor can any spell overcome true love.  
   
  All spells are reversible, whether by the spell caster himself or through reflection 
  by a stronger will.  
   
  Bear in mind that terms such as “magic spell” are only words. They are not the 
  sinister or evil techniques so often associated with magic, but merely another way of 
  describing a perfectly natural and logical ability possessed by all human beings to 
  program themselves in the hope of affecting a desired outcome.  
  
   
  80
  THE AURA 
   
  Just as the atmosphere of the Earth is held around the planet by electromagnetic 
  and gravitational forces, so too are the charged particles that are the products of 
  respiration. There is an “aura” of gaseous particles around the body. This is analogus to 
  the scent that surrounds humans and is perceptible primarily to dogs, with their more 
  highly developed sense of smell. In some cases a malodorous smell can even be detected 
  by the normal human nose as well.  
  If all this is true, then why not an electromagnetic field as well? Certainly the 
  minuscule particles possess some charge. Simply by being composed of atoms made of 
  electrons, protons, and neutrons. If we accept that nerve impulses, although  produced by 
  chemical interaction, are essentially electrical in nature, then it logically follows that they 
  too must produce some inductive field that extends beyond the physical nerve itself. 
  Every other electrical current produces such a field.  
   
  Without a doubt then, there IS an aura, and it is perceptible to some gifted or 
  skilled people. It is alterable according to respiration and mood, as previously shown.  
  The purpose of the mental exercise that follows is to fill that aura with charged 
  particles released through normal respiration but more highly charged by breathing so 
  that the sphere of influence (aura) becomes opaque, like a clear glass filled with smoke. 
  The effect is to render the user invisible to himself, which generates the body language 
  and mental attitude to render himself invisible to others. 
  There is an inherent difficulty when employing this method. Namely, if one 
  cannot see one’s hands or feet, there is a tendency to bump into things and knock them 
  over. For this reason the Ninja train in blindfold techniques. Those that arise 
  spontaneously are very similar to those used by the blind. It may seem paradoxical that 
  moving as if you were blind would contribute to making you invisible to others. But, the 
  psychological effect of diminishing your ego to the point where you can’t even see your 
  own hand allows you to focus all your attention on those other people and remain out of 
  their line of sight. Also, because of this intense concentration, you  (like a blind man) 
  would develop more highly sensitive applications of your other senses. 
   
   
   
   
  THE SPELL OF INVISIBILITY 
   
  The exercise (spell) that follows confers upon the spell caster the singular ability 
  to become invisible at will such that his presence will not be detected by normal sight or 
  even sophisticated sensing devices. It does not affect body mass or physical 
  manifestation. The user still has weight and occupies space. The user can still make 
  boards creak by walking on them. Thus, there is a need for Silence.  
   
  It does over come the problem of H.G. Wells Invisible Man who found that food 
  was visible in his stomach until it had been digested because, as indicated above, the 
  body is not transparent but rather enshrouded in the mist or cloud. As it is still solid, 
  however, it does cast a shadow and leaves footprints like Wells’ character. 
  
   
  81
  This spell remains extant for so long as the Will sustains it. The best practice is 
  Absolute Stillness, i.e. meditation. Even the breathing must be quieted to the point where 
  it cannot be heard by the Seeker. One measure of how long the Invisibility Spell will last 
  is to count your heartbeats while holding your breath.  
  Actually, the lungs are held empty, that is to say no inhalation is made after the 
  exhalation that begins this test. Most people can’t hold their breath for more than thirty 
  seconds, about forty heartbeats at the rate of seventy-two beats per minute for men and 
  eighty beats per minute for women on average. With practice, however, the time can be 
  extended to one hundred heartbeats. The ancient texts on Ninja medicine say that if one 
  can hold the breath for this long, one is halfway to immortality. Bear in mind that this is 
  not intended as a means to “stay invisible” for long periods. A few moments at the proper 
  time is the key to “clouding men’s minds.” 
  Remember that there is a price to be paid for every magical work. In black magic 
  schools this is often blood, which is usually one of the ingredients necessary to complete 
  an incantation. On the psychological level this is an indication of the magician’s 
  desperation and his willingness to sacrifice to achieve his goal. In Ninjitsu the price is the 
  promise to teach ten others these mysteries. Finding ten who are worthy and capable may 
  take a lifetime. Therefore, do not use these devices frivolously or for too long. As Well’s 
  protagonist in his Invisible Man and the antagonists in Tolkien’s Hobbit found, absolute 
  power corrupts absolutely. 
   
  Place the index finger of your right hand to your lips and whisper the syllable 
  “Shhh…” as if asking someone to be quiet. In Chinese medicine this sound is associated 
  with the lungs (Air). It is said that pronouncing this syllable helps to dispel fear- and, this 
  is so.  
  Have you ever seen accident victims who were calmed by a comforting hand and 
  someone whispering softly that everything was going to be all right? Human beings 
  instinctively make this sound when cooing at or quieting a baby. Whether the child 
  becomes programmed to the relaxation response elicited by this cue or recognizes it as 
  the sound of respiration, a certain sign of life despite pain or discomfort, is quite likely 
  irrelevant. That it calms the person is the important factor. Likewise, it has a calming 
  effect on the user.  
   
  The fingers-to-lips gesture is also universally recognized to mean a request for 
  silence. Some Mystery Schools teach that the thumb should be used. But, this places the 
  Vertical Fist directly in front of the face, making it more of a threat than a request. This 
  gesture can be seen over great distances and when coupled with a stern expression and 
  stern eye contact can actually serve as a non-verbal reprimand quite effectively. From a 
  psychological perspective it turns the onlooker to whom it is directed into a co-
  conspirator of silence. All the moreso the longer he waits to disobey. 
  With the fingertip to the lips forming the Mudra of the Silent Way, inhale slowly, 
  deeply and silently three times. On the first exhalation imagine the three horizontal lines 
  one above the other. These represent Heaven, Earth, and Man, just as in the Juice of Jade 
  Exercise. On the second exhalation imagine only two lines remaining, and on the third 
  exhalation only one line.  
  
   
  82
  At the conclusion of the third exhalation, swallow. Touch the tip of our tongue to 
  the roof of your mouth and mentally recite a short, calming phrase or prayer using the 
  self-hypnosis technique to reinforce the desired result.  
  Phrases such as “I am now completely relaxed,” or I am at a deeper level of 
  consciousness,” are in this way associated mentally with the ritual of the relaxation 
  response. Likewise a similar phrase such as, “I am better,” or, “I am returning to full 
  waking consciousness,” should be used when coming out of the trance. This helps 
  separate the meditation experience from the stress of the day, making it a refuge and a 
  sanctuary against the pressures of daily life. The Japanese have used it for centuries to 
  restore balance to their lives and so can anyone who practices it. The effects are 
  cumulative and require diligent practice at first, but the benefits are well worth the effort.  
  Release the mudra and form instead the Eight Channels Mudra by placing the tips 
  of the middle fingers to the tips of the thumbs. This connects the channels of energy 
  within the body. They are like the meridians of acupuncture, lymph circulation, or blood 
  vessels- natural pathways of circulation.  
   This finger-knitting position, like all those of the Kuji Kiri system, is used to 
  connect the systems of the body in a specific arrangement so that healing or similar facets 
  of magic can be performed. Complete Kuji Kiri instructions can be found in Secrets of 
  the Ninja and Ninja Mind Control.  
  The Eight Psychic Channels run up the back, down the front of the body, around 
  the waist, down the insides of the arms, up the backs of the arms, down the outsides of 
  the legs, up the insides of the legs to the Tan T’ien and up the center of the torso to solar 
  plexus level. For this reason, all schools of meditation begin with focus on the Hara or 
  Tan T’ien.  
  When you are sitting with legs crossed the mudra to unite these channels in their 
  most efficient arrangement is to connect the middle finger to the thumb and place the 
  palms face up on the knees. You need not think of the circulation for it to occur, although 
  there are texts and schools that teach the conscious direction of the Force. If you merely 
  sit long enough, you will learn everything you need to know.  
  As before, the back should be straight, the shoulders square, and the eyes closed, 
  looking easily and gently at the tip of the nose. Inhale slowly and deeply filling the Tan 
  T’ien with Qi. Imagine the flame upon which you concentrated in the earlier chapters to 
  be a small, warm, friendly fire in the Golden Stove of the Hara, filling the body with 
  warmth, light, and life as a hearth fills a home.  
  Let the saliva you swallowed as you counted- three, two, one- be the Juice of 
  Jade. It fills the cauldron and is warmed and evaporated into a steamy mist by the heat of 
  the internal Fire. This is the mystical essence of the Cloud. Tighten the Hara and let it rise 
  up the spine to the skull, where it condenses as golden drops of dew, the Yod symbol of 
  the Egyptian Tarot Deck. This is the internal distillation process, exactly like the one used 
  to distill the essence of herbs into elixirs or corn into “moonshine” liquor. These drops of 
  dew are the refined essence of the Juice of Jade. Although they are spoken of here in the 
  allegorical symbolism, they also exist chemically and can be activated by mental 
  imagery, they are the elixir of life. 
   
   
   
  
   
  83
  THE MIST 
   
   
  Exhale slowly and without effort or sound. Imagine a blue-white vapor or mist 
  which is the “steam” of the internal distillation process, being emitted with the exhalation 
  as you whisper, “Shhh…” Let it descend and cover your legs, swirling softly to form a 
  haze or blanket. Feel the relaxation in every part of your body as it slowly envelops the 
  physical self. It feels good to be relaxed, it feels better than before.  
  Repeat this procedure nine times, letting the Cloud build until you are completely 
  engulfed and oblivious to the outside world, forming an impenetrable shield which is the 
  sphere of influence, the aura, by sheer force of will, like filling a glass with water.  
   
  Creating the Mist 
   
    
   
   
  Form the Silent Way Mudra by placing your index finger to your lips with your 
  little finger extended and the middle and ring fingers curled into the palm. Inhale and 
  draw air into the Golden Stove. Circulate it eighty-one times using the Nine Breaths. 
  Imagine a vapor being expelled on each exhalation, descending to form the mist 
  or fog that settles about the body and then begins to rise and evaporate, spreading itself 
  upon the wind. Imagine the cloud becoming more dense as it fills the auric egg- the 
  electromagnetic field of the body. 
  Imagine becoming part of the cloud as it surrounds the body completely, 
  obscuring the form from view. Imagine the body becoming lighter and lighter until it is 
  carried away with the dissipating mist. So that the form vanishes completely and cannot 
  be seen. 
  
   
  84
    
   
   
  Imagine the cloud itself dispersing until it too is lost to the sight and achieves 
  absolute invisibility becoming “one with the universe,” as the Old Ones would describe 
  it. Here time and space have no meaning. One is impervious to heat or cold, beyond the 
  tactile level of reality, were anything is possible. 
  The aborigines of Australia have a great lore regarding this dream-time when you 
  are sitting as still as a lizard on a rock and become invisible to the universe that is well 
  worth investigating. The essence, however, is to link memory to imagination. Then one 
  can visualize or imagine the outcome of any scenario or the solution to any puzzle. It will 
  be presented to you in terms and symbols completely understandable, some of which are 
  archetypal and some of which are personal.  
  You are your own best teacher because only you know what you need to learn, 
  and are therefore the only one worthy to be your own master. Let no one say otherwise.  
   
   
  INVISIBILITY 
   
  One can move about slowly when surrounded by the Mist or Cloud, and so 
  perform acts of the Will invisibly. Chinese sages say that the secret of invisibility is 
  sitting so still that you go unnoticed by the passage of nature. In meditation, the initial 
  stages of practice, this movement is known as the internal work, the healing and 
  detoxifying of the body by collecting, cultivating and circulating the life-force, Qi. In a 
  physical sense, moving about means to “ride the wind”-that is to say, let yourself move 
  so slowly and quietly and spontaneously in response to the actions or line of sight of 
  others that you become “one with nature,” part of the background that is overlooked-
  invisible.  
  This enables the Ninja to not be seen and not attract attention until he is ready to 
  “step out of the mist” and suddenly appear to the enemy. Silence is the key. When you 
  can breathe so slowly and deeply that you cannot hear yourself, then you can move 
  
   
  85
  slowly and quietly enough to be invisible. You will also have developed the patience 
  needed to do so. 
   
  Slowness is of major importance. Think of how movement inside a real cloud 
  would disturb the gaseous mist and threaten to expose an arm or hand to view. Practice 
  moving in water or imagine that you are doing so to elicit the necessary visual imagery. 
  Any attack made while invisible has a fifty percent better chance of success and 
  does twice the damage since the opponent is unprepared and has no chance to defend 
  himself or steel himself against the impact. Naturally, any such aggressive behavior 
  negates the concentration required to remain invisible, thus breaking the “spell” and 
  making the magician visible. 
  This is why invisible actions are always more subtle and employ very little force. 
  In Tai Chi Chuan it is said that a “force of a thousand pounds can be deflected by four 
  ounces.” And, in Pa Kua Chang it is taught that “to affect the lives of men, one must be 
  outside the circle that presses them.” Both of these principles are part of the Invisible Fist 
  philosophy. The greatest warrior prevails without throwing a single punch. 
  It is, of course, not necessary to merely sit and enjoy the sensation of relaxation 
  and solitude. While in this state it is possible to effect the self healing of old wounds and 
  injuries merely by thinking them well. 
  There are many schools and methods used for this practice-too many to enumerate 
  here. Suffice to say that if one tries this method, one will develop a system and a suitable 
  set of mental techniques without the need of any further instruction whatsoever. It may 
  help, however, to consult with other wizards or healers to save time or confirm that the 
  methods are in fact in keeping with the principles of magic, meditation, or even prayer. If 
  they work, they are correct. It is as simple as that.  
   
   
  RETURN TO EARTH AN IMMORTAL 
   
  Dispel the mist gradually by “blowing it away.” Exhale gently whispering the 
  sound “Whooo…” 
  This is the sound of the Earth, represented in Chinese medicine by the stomach 
  and the spleen. It is only natural that one should use the sound symbolic of the Earth to 
  return to waking consciousness after this mental exercise.  
  As the breath and the sound move away, they will gradually carry the fog or mist 
  with them and visibility will return. One should not come out of this auto-hypnotic state 
  too suddenly. At first, it will be hard even to sit still. Then it will be difficult to imagine 
  the Cloud at all. But, with perseverance, patience and practice, it can be done.  
  It might be hard to dispel the vapor, making it necessary whisper the “who” (Hu) 
  mantra as many times as needed to produce the fog with the “Shhh…” sound- perhaps 
  nine.  
   
  After a while the Cloud will be more easily dispelled. That is to say, in only three 
  breaths or one, depending on the depth of concentration. These three then can be used to 
  count up from the relaxed state, just as counting backwards, three to one, was used to 
  induce it. Counting up to return to full wakefulness and alertness, feeling better than 
  before, is a positive awakening ritual that brings with it the feeling of warmth and 
  relaxation produced by the practice of invisibility. 
  
   
  86
  Just visualize three horizontal lines, one above the other. The Chinese ideogram 
  for three, taking them off from top to bottom as you go deeper and replacing them from 
  bottom to top when waking up. Swallow and release the tongue from connecting the Jen 
  Mo and Tu Mo channels of the body. Forgot about that mnemonic device, didn’t you? 
  That is one reason Ninjitsu is called the Silent Way. Because you can’t speak when your 
  tongue is on the roof of your mouth. 
  Then, relax by sighing or remain in a meditative sate for some other mental 
  exercise and later on return to full wakefulness by counting the lines upward or just 
  imagining the numbers in sequence as you rouse yourself.  
  As previously stated, some concluding phrase or benediction should be rendered 
  to separate the solitary cultivation of energy from mundane reality. Some schools use 
  “Ommm…” a sixty-cycle harmonic or its variations like “Amen.” Magicians seem to like 
  “So…” as a conclusionary remark, “So let it be written, so let it be done.” 
   
   
  HARAKI-THE SPIRIT SHOUT 
   
  When faced with an imminent confrontation, it is often advisable to “steal the 
  march” from the adversary and attempt to overcome him verbally or mentally before he 
  can become belligerent enough to make an attack. As the enemy is preparing to attack, so 
  is the Ninja. He draws air into the Tan T’ien and tenses his belly.  
   
    
   
   
  Using his Command Voice he shouts a single word order to halt or move, 
  bringing the shout up from the Center and directing the forceful blast of air directly at the 
  face and eyes of the aggressor, who should blink or flinch in response. Expand your 
  chest, a subtle “puffing up” gesture, and lean forward slightly as you follow with a long 
  “Haaaa…” sound, breathing the heat of the inner fire at the face of the enemy. “Show 
  your fangs” by baring the teeth somewhat and look at him as if the human torch was 
  setting his head on fire. This is the Fire Breathing Ninja Technique. He should feel the 
  heat of your breath and perceive that you are about to make a kill-or-be-killed response to 
  his challenge. That alone may give him pause to reconsider his challenge. If he breaks 
  stance or falls back, the battle is won. If not, jump on him or vanish while he is still trying 
  to decide if you are insane-or not! 
  
   
  87
  When using the most basic method, the Kiai, most schools hold that “Ha!” is the 
  best word to yell. It is the sound of the heart. When using Haraki, the word is not even 
  heard. It is the sound waves that produce the effect.  
  As seen in the Book of Fire, true Dragon Breath requires expelling gases and foul 
  odors by belching. Haraki does not. The effect, however, of making the enemy fall back 
  without physical contact is identical in these three methods. Punching Out or Shouting 
  Out a Candle silently is the test of this ability. 
   
  This is an example of using your Mist Attack as part of the “power to cloud men’s 
  minds” in combat. To become invisible for surreptitious entry apply the following. From 
  your place of concealment behind the enemy, imagine the Cloud in which you meditate 
  building in your Hara. Tighten the lower belly and blow a puff of air gently at the back of 
  his ear. By doing this, you can make him think an insect is annoying him and become 
  uncomfortable. While he is focused on himself, you can silently slip by.  
  Likewise, you can project this small ball of air to other spots and cause sounds 
  that will attract his attention and draw him off his post so you can pass. This is the basis 
  for the Ninja trick of Yoji no Jitsu or the Toothpick Trick, in which a small object was 
  thrown past a sentry to make him investigate and move away.  
  Another method is to “put him to sleep.” Just as the Empty Hand Breath Weapon 
  in the first chapter. This time the Qi, the vapor, is projected using a slow steady stream of 
  air, to form a cloud around the head of the enemy. He does not see it or feel it. But, once 
  you have seen evidence of relaxation from projecting the Cloud at him, you can mentally 
  send the subtle command to “sleep…” with each breath until he dozes off or becomes so 
  drowsy you can slip by. “Think” the cloud around his head, dimming and smothering the 
  candle flame of is will. The principle here is to mentally connect with the other mind 
  using the charged particles of the breath to form a bridge. 
  Some schools teach these methods like projecting the energy from solar plexus 
  through the palm toward the sentry’s back. Others use the finger-knitting position 
  Direction of Energy from Kuji Kiri to aim this stream of consciousness from the Will to 
  the desired effect. The test of this ability, of course, is mentally diminishing the flame of 
  a candle until it is extinguished 
  In a battle of wills the flame is imagined to be directly above and between his 
  eyebrows. This is the Third Eye Point used by hypnotists to fix the gaze of the subject.  
   
   
   
  INVISIBLE FISTS 
   
  As we have discussed, the Ninja magic techniques operate on all levels 
  simultaneously, visual, audible and tactile. The Ninja of old, often used subtle gestures to 
  identify themselves to each other when acting undercover. One of these, which indicated 
  that the agent was advanced to the level of skill that enabled him to perform this Spell of 
  Invisibility was the Dragon Palm Fist. In combat, this gesture may be used to intimidate 
  the enemy on a subconscious level or warn him that he is about to be struck by one 
  skilled in the Invisible Fist. In black magic schools this hand sign is called the Cornu, or 
  Devil’s Horns.  
  
   
  88
  It should be noted that the Dragon Palm Fist of Chinese martial arts is made by 
  bending the middle and ring fingers into the open palm so that the index and little fingers 
  form the “dragon horns.” Note this is the same hand position used in the Invisibility 
  Meditation and is one-half of the third finger-knitting position of Kuji Kiri. The thumb is 
  bent and locked to harden the fist. Strikes are made with the Needle Finger to Dim Mak 
  pressure points; by raking downward with the middle and ring fingers that form the 
  Dragon Claw; with the edge of the hand as in the Swordhand Strike; with the inner edge 
  of the Palm as in the Ridgehand Strike, by hooking the thumb into the enemy’s eye or 
  mouth to rip and tear the flesh, the Tiger Claw; or by poking both eyes with the two 
  extended fingertips, Twin Dragons Seek the {earl. 
  The Dragon Palm Fist was brought to China from the Himalayan Mountains of 
  Tibet, where it was known as the Lama Hand, the Way of the Monk. It the Black Dragon 
  School of Ninjitsu it is called Mi Chuan, the Invisible Fist. 
  Another application of this gesture is founding American Sign Language. When 
  the back of the thumb is pressed against the heart and the index and little fingers are 
  extended with the middle and ring fingers folded into the palm, it forms a combination of 
  three letters or words in Sign Language. I is formed by the little finger extended and the 
  thumb at the heart; you is indicated by the index finger which would ordinarily be 
  pointing at the listener; and the letter L for love is made by extending the index finger 
  with the thumb held at a right angle. It is the sign for “I love you” that is recognized 
  worldwide. It is also similar to the American Indian sign language gesture for friend, and 
  to the Shaolin Salute in which the Standing Palm is placed above the left upward turned 
  open palm as solar plexus level to indicate training in the temple. Thus, this hand sign 
  represents the Ninja philosophy of non-violence. No one wants to harm another human 
  being. Only in the most dire circumstances of self-defense is the use of Force permitted. 
   
    
    
   
  DRAGON PALM 
   
  STANDING PALM  
  LAMA HAND 
  
   
  89
  The hand-to-face gesture using this mudra in meditation is also a method of 
  blocking a chokehold in Judo and can be used psychologically in battle by placing the fist 
  on the chin and slapping oneself with the palm. While the opponent pauses to wonder 
  what is being evaluated, or why you struck yourself, he blinks, he hesitates, and you are 
  gone. 
   
  Lama Hand 
   
  The Lama Hand of Tibetan Kung Fu is the source of the lost forms of Ninjitsu and 
  the secret teachings of the Hidden Kingdom called Shangri-La by some. The Lama Hand 
  is literally the art of overcoming any opponent, no matter how large or small, instantly, 
  regardless of the size, age, or infirmity of the defender with no physical contact. The 
  principle is to project Qi from the forward edge of the hand as if performing an Edge 
  Block and strike the opponent in the heart charka to stun him BEFORE he comes in range 
  of the fist. 
   
  THE MIND GATE METHOD 
   
  If Ninja are the ultimate warriors, it is because the have the knowledge and will to 
  use the Way of the Invisible Fist.  
  There are many excellent fighting systems and it is left to the individual to find 
  for himself those techniques or styles that work best for him. To quote the late Bruce Lee, 
  “Absorb what is useful.” That does not mean that everyone will absorb the same things or 
  that what appears to be useless may not have some redeeming value. Nor it is our intent 
  to insult any other martial art by saying that one is better than another. Other Seekers 
  have other Paths and there are many ways of becoming “invisible.” 
  HsiMenJitsu, the Way of the Mind Gate is the name given to psychology in the 
  ancient texts and sacred scrolls of the Ninja. Unlike the Dragon Method which is 
  essentially kinesthetic, this system is almost entirely visual.  
  As in the Kuji Kiri mediation practice, Qi in the Small Heavenly Cycle, having 
  been raised through the Nine Gates of the Heavenly Pillar of the spine, is circulated in the 
  Mysterious Chamber of the skull and is directed with the Third Eye. Control is exerted 
  simply through mental imagery. One merely thinks of what he wants the enemy to do and 
  it is done. Whatever can be imagined can be accomplished. This is very similar to the 
  Tantric teachings and the use of the dream state in problem solving exercises. 
  Those who vanish by this method normally do so by turning the eyes upward in 
  their sockets to look at their own Third Eye between the brows. Those who have witness 
  such a demonstration report that the room lights begin to dim. Then darkness fills the 
  room so that only a spot of light can be seen on the forehead of the Yogi. When this is 
  gone all is blackness-practical invisibility. As amazing as this may seem, it, like the 
  Dragon Method is based on practical, physical laws and also operates on many levels.  
  Two of these should be explained. First, you can’t hit what you can’t see. While 
  the Dragon Technique affects the eyes and surrounds the user with a mist, the Mind Gate 
  Method functions by simply making it impossible to see. Masters of this art can place the 
  idea of the fist into the mind of the opponent and excel as the skills of both hypnotism 
  and illusion.  
  
   
  90
  Second, on the physical level, the application of this technique can be as simple as 
  turning out a light. The eye reacts to the change in available light by expanding or 
  contracting the pupil. This takes a finite amount of time. For those seconds when this 
  process is in effect, one cannot see clearly. In a desperate situation, knocking over a lamp 
  to produce such darkness is permissible. 
  By the same token, a sudden flash of light makes the iris constrict, producing 
  temporary blindness. Ordinary flashbulbs can be made to go off to make one see spots 
  before the eyes without the need of a camera or other large apparatus. Imagine! A 
  flashcube as a self-defense weapon! Yet, we all know how effective they are at making us 
  blink or squint. 
   
  Those who have been “struck” by followers of the Mind Gate have said they see a 
  flash of light so bright that it makes them recoil instinctively. Those who have 
  experienced the Dragon Method can actually feel its impact. Haraki victims speak of 
  pressure in the ears or a sound so high pitched as to cause pain.  
   
  THE DEMON MASK SCHOOL 
   
   
   
   
   
   
   
  BASIC MASK 
       DRAGON MASK   
       BONE MASK 
   
  The Demon Mask School of Ninjitsu holds that to present a terrifying image to 
  the enemy is often a useful psychological ploy that may even dissuade him from further 
  aggression. Much like the stern look of a parent when hushing a child or much like the 
  contorted scream of a martial artist as he hurls himself into battle. To this end, they 
  devised elaborate costumes and masks made of bone or used bright red colors or fangs to 
  frighten their enemies. Many of these were patterned after the symbolic costumes of the 
  
   
  91
  Japanese Noh Plays, which are specifically designed to elicit an emotional response from 
  the audience. This practice is analogus to the use of skulls and other alchemical symbols 
  by some Mystery Schools to discourage interest in their techniques. Part of the training is 
  to release all the bottled up fear and anger produced by daily stress into the Kiai.  
  Imagine it as a ball of fire being blasted from your belly, engulfing and destroying 
  the object of your hatred or fear. That is the Fire Breathing Dragon! It is also a primal 
  scream, a purging of the negative thoughts and emotions and it generates the courage to 
  stand up for yourself. If you “see” it, so will your opponent. He will feel the heat of your 
  anger and fear your wrath. And, you will prevail.  
   
  DISTRACTION 
   
  All of these things are what a magician would call distractions or misdirection. A 
  boxer would think of them as fakes or feints used to create an opening in an opponent’s 
  defense, some think of them as sucker punches. If this can be done by breaking his 
  concentration, the Ninja can safely launch his attack or disappear. Simple tricks like 
  tossing a coin behind a sentry will often make him turn to investigate the odd noise. 
  Looking over the shoulder of an opponent gives him the impression that there is someone 
  behind him.  
  In Kung Fu, many styles teach how to simultaneously attack two targets, 
  gambling that one will succeed if the other fails, making it all the more difficult for the 
  opponent to read the incoming attack and mount an adequate defense. In Ninjitsu, the 
  technique of attacking a heavily defended passageway to draw enemy troops away from 
  the surreptitious entry of a single agent or team at some more remote site has long been a 
  stratagem of battle. Just as has been the trick of throwing crude gunpowder into a 
  campfire to make a blinding flash of light and smoke.  
  Anything that can be used to make the enemy blink can and probably has been 
  employed at one time or another. It only takes a second to duck out of sight.  
   
  PATIENCE AND SILENCE 
   
  We have no fear that these techniques will be misused or perverted. Since those 
  who would do such things do not have the patience or perseverance to learn them. You 
  can know the secret of Fire Breathing Dragon and still not be able to perform it due to 
  lack of confidence resulting from inadequate preparation. You can lean the secret mudra 
  that confers the power of invisibility, but, unless you have done all that is explained here, 
  slowly, step-by-step, there is no way the technique will ever work properly for you.  
  There are things that can only be learned by doing them and lessons will also be 
  learned along the Way. No one can tell you all these things. They must be experienced 
  and discovered for one’s Self. Thus, they are presented in the manner of self-instruction. 
  We want or need no “followers” no devotees, no ardent admirers. We want each 
  person to be the best he or she can possibly be. There are no masters in the ranks of the 
  Ninja. We believe that one should have many teachers and try many styles, the better to 
  find the truth for oneself and to train oneself and be one’s own master. Part of that is 
  developing the self-confidence of knowing you can defend yourself-by becoming 
  invisible if necessary.  
  
   
  92
   
   
  POSTSCRIPT 
   
  We are not a club, team, or army. We are a fraternity of like-minded individuals- 
  friends who help each other and set a good example for all. 
  Now that you have learned the secret teaching- the Yin, or dark side of the Silent 
  Way- do you understand why it is called that? Because the entire system is based on the 
  physio-psychological response elicited by placing the fingertip to the lips and whispering 
  “Shhh…” 
  The secret of invisibility is silence and stillness. 
  Now you understand why it was kept secret? Because it is so easy! There are no 
  gymnastics, no tumbling, no deathblows or gore. No years of brutal training under stern 
  Sensei or paying for lessons.  
  Anyone having read this book can defend themselves with a handful of sand. 
  These are methods even the most extreme pacifist could endorse. They are as non-violent 
  as the fighting arts are savage and terrifying. Yet, each has its place and applications.  
  Even for the Invisible Tribe, the wheel of life continues to revolve. One will be 
  faced with problems, obstacles, opportunities or confrontations with those who believe 
  that violence is the answer to everything, and for them it is.  
  “Do unto others as you would have done unto yourself,” is more than just a 
  maxim. It is also an explanation of human psychology. If a man comes to you and wants 
  to beat you up, that means HE, for some reason, wishes to be beaten. There are many 
  motivations for this kind of behavior, but they are of little consequence If he wants a 
  whipping, the Ninja is usually capable of providing it. But, since the Ninja reveres all life 
  and values peace and harmony above all else, he will go to almost any lengths to avoid 
  having to fight. In attempting to live as a superior man, the goal of the I Ching, the Book 
  of Changes, and set a good example for all, he will run, hide, accept verbal abuse and 
  slander without striking back. Only when there is no escape, when trapped, when the 
  stakes are life and death does he permit himself to use the savage and terrifying arts of 
  which he is capable. And then, he shines.  
  Some schools of invisibility teach that one must become non-descript, 
  anonymous, lost in the crowd. It is essentially the principle of attracting no interest. They 
  instruct that one should practice by staring into a mirror until a field of shimmering 
  energy manifests itself between the observer and the observed. This curtain of non-
  interest is faint and indescribable except to say it appears, as do the distortions produced 
  by heat rising from a road to create a mirage in the desert. A bending of light rays by an 
  area of heated air, which acts as a natural lens or prism. Not as fantastic as it sounded 
  earlier, eh?  
   
  The Koga Hai Lung Ryu (Black Dragon School) of Ninjitsu performs this feat by 
  filling the sphere of influence, the aura with a fog or mist- a vapor that conceals the Ninja 
  -as explained. What is seen within the Cloud, in the mind, is not seen clearly at first. The 
  Ninja must remain in quiet places that attract no attention, lest his presence be felt or 
  otherwise sensed. This is called Kobudera, the “masking of real intent.” 
   
  
   
  93
   
  Some say the substance from which the Cloud is formed is called Akasa and 
  collects in the corners with the dust that is harvested to fill the Hai Lan or Black Eggs 
  used to vanish as described in the Book of Earth. This magical dust is analogus to the 
  “pixie dust” magicians claim is found in the linty corners of almost every pocket and can 
  be sprinkled on objects to make them do extraordinary things. The real trick is that when 
  he dips into his pocket for the “pixie dust” he is also dropping off the object in question. 
  Like the dust harvesting process itself, the psychological effect is that of mentally 
  gathering the Qi to fill the aura, making it opaque, as opposed to transparent. Then there 
  are those who believe that the power to cloud men’s minds can be wholly generated from 
  within, These are the followers of the Fire Breathing Dragon School.  
  The first step, Kindling the Fire in the Belly is the first exercise in the 
  development of this power. Collecting the Qi in the Center, refining it with the imaginary 
  heat of the Golden Stove (cultivation) and letting the “steam” produced by boiling the 
  Juice of Jade rise to the brain is always the initial stage. How else could one hope to 
  breathe fire on an opponent and defeat him with the same energy that enables Hindu 
  Yogis to walk on burning coals or fast for weeks at a time? 
  This practice confers control of the “reptile brain.” The brain stem in every human 
  being concerned with survival and response to environmental stimuli. To the Yogis it is 
  Kundalini, the “serpent power” that represents sexual energy. To the Ninja it is Hou Lung 
  Qi, the Way of the Fire Breathing Dragon.  
   
   
  THE SWORD THAT DOES NOT KILL 
   
  The quest for invisibility is only one road that leads to the top of the mountain of 
  self-knowledge and understanding offered by many others. The same chants, guidelines 
  and symbols serve as signposts and mile markers along the gradual learning process of 
  perfecting the Self.  
  Those who seek out this knowledge do so because they think attaining it is 
  impossible and if the could do something impossible, it would provide some clue to 
  understanding all the other things that elude them-that are “invisible”-without adequate 
  explanation. When they find out how something is done they either don’t have the 
  patience to do it properly or are disappointed because it is so simple it is hard to believe it 
  would fool anyone, especially them-but it can, and does. 
  As promised, even the most meek and mild among you even the most passive and 
  non-violent can find a way to defend yourself and have self-esteem if not with these exact 
  techniques then by adapting them to your own needs.  
   
  It was said that Miyamoto Musashi, the most famous swordsman of feudal Japan 
  had engraved on one side of the hand guard of his sword, “The Sword that Kills.” And, 
  on the other side, “The Sword That Spares Life.” It would be interesting to know which 
  face was presented to the enemy and which to the swordsman himself. 
  For the Hai Lung Ryu, it is the Invisible Fist that does not kill.  
   
   
   
  
   
  94
  Collector’s History 
   
  The Invisible Fist was originally written and submitted for publication to Paladin 
  Press in1989. It was declined because by that time relations between Kim-Sensei and 
  Paladin Press were strained. Kim having discovered several titles that had been re-named 
  and were being sold without royalties being paid, and overseas sales that were completely 
  unreported for many years. 
  In 1998 it was published by Citadel Press, after more than a year of “polishing” 
  and their insistence that the chapter entitled Book of Fire be replaced for fear some 
  moron would set himself on fire trying the Fire Breathing Dragon Technique. 
  Since then, Carol Publishing Group, the parent company of Citadel Press has 
  declared bankruptcy. Although they remain in business and continue to sell Kim-Sensei’s 
  books such as Secrets of the Ninja in paperback edition through front companies like 
  Berkeley Press without paying the author a nickel. 
  As part of the “liquidation” of Carol’s assets, Invisible Fist, Iron Body Ninja, and 
  the unfinished Ninjitsu For Women were sold, despite Kim’s objections and in violation 
  of his contract with Carol, to Kensington Publishing who have merely carried on under-
  reporting and using “accounting devices” to rob the author. 
  Since DOJO Press is the ONLY AUTHORIZED DISTRIBUTOR OF ASHIDA 
  KIM BOOKS AND TAPES, this edition has been retyped and reproduced from original 
  photographs in its original format with Fire Breathing Dragon included, instead of the 
  forced changes. Ashida Kim considers this book to be one of his best efforts to explain 
  Ninjitsu, the only non-violent martial art known to man, and deeply regrets the delay in 
  providing this information to the public.  
   
  -Editor 2001 
  
SOURCE: textdata/thevault/Invisible Fist of the Ninja - Ashida Kim/Invisible Fist of the Ninja - Ashida Kim.pdf