CH’IANG PI KUNG (Wall Climbing Ability)
Two things hinder penetration of the enemy camp: barriers and sentries. To overcome the first of these, the Ninja employs Chiang Pi Kung, his Wall Climbing Ability. This consists of making the body light, and advancing in accordancewith the theory of opposition. That theory states that maximum balance is obtained by moving the opposite arm and leg simultaneously as in
the Lung Pu, Dragon Step. Most obstacles, walls, barricades, present a variety of hand and foot holds for the climbing Ninja. With only a little practice, anyone can become a “second-story man.” The Ninja, of course, developed these skills to a high degree. The projection, corner or, in this instance, drainpipe selected for the ascent must be of sufficient strength to support the weight or the climber. Therefore, small men are best at this sort of thing. But, even they enhance the ability by concentrating their energy in the Solar Plexus to make themselves light. This is also used in Leaping Kung, whereby the
Ninja could jump flat-footed over most men or a crowd and escape.Walls may be ascended with the chest to the surface, using drainpipes or trellises, bearing in mind that these are considerably weaker at the top than at the base. Test the structure by grasping it firmly with both hands and pulling straight down, exerting a steadily increasing pressure until you can lift your body to the toes. Gently push and pull against the supports which anchor the pipe before starting the climb.
Ancient texts tell of a method using the elbows and heels to climb with the back to
the wall, as illustrated. This technique requires three years’ practice crawling on the floor, three
years climbing on a wall with bricks jutting out, and three years’ climbing on a smooth wall.
Movement by this method may be vertical, horizontal, or diagonal.
Climbing by these means may be accomplished by employing any ornamental ledge or windowsill.
A lip of one inch for each point of contact (finger tips, toes) is sufficient for this purpose
if sufficient finger strength can be generated.
Press the body against the surface, getting a feel for the
wall’s material. Look directly upward, selecting the handhold route
you will employ. Grip the ledge, and place the toes on a second ledge
or other projection.
Simultaneously push with the legs and pull with the arms,
gaining sufficient momentum to carry your hand to tile edge of’ the
wall. Maintain your balance by means of the other three points of’
contact. Only one such point is moved at a time in this technique.
Shift the other hand to the wall edge and, using the arms to
bear most of your weight, advance the legs alternately until you gain
the summit. Once there, lie flat and listen for sounds denoting that
you were observed. It is essential when moving on rooftops to avoid
silhouetting. The steeper the angle of the roof, the more one must hug
the surface.
the Lung Pu, Dragon Step. Most obstacles, walls, barricades, present a variety of hand and foot holds for the climbing Ninja. With only a little practice, anyone can become a “second-story man.” The Ninja, of course, developed these skills to a high degree. The projection, corner or, in this instance, drainpipe selected for the ascent must be of sufficient strength to support the weight or the climber. Therefore, small men are best at this sort of thing. But, even they enhance the ability by concentrating their energy in the Solar Plexus to make themselves light. This is also used in Leaping Kung, whereby the
Ninja could jump flat-footed over most men or a crowd and escape.Walls may be ascended with the chest to the surface, using drainpipes or trellises, bearing in mind that these are considerably weaker at the top than at the base. Test the structure by grasping it firmly with both hands and pulling straight down, exerting a steadily increasing pressure until you can lift your body to the toes. Gently push and pull against the supports which anchor the pipe before starting the climb.
Ancient texts tell of a method using the elbows and heels to climb with the back to
the wall, as illustrated. This technique requires three years’ practice crawling on the floor, three
years climbing on a wall with bricks jutting out, and three years’ climbing on a smooth wall.
Movement by this method may be vertical, horizontal, or diagonal.
Climbing by these means may be accomplished by employing any ornamental ledge or windowsill.
A lip of one inch for each point of contact (finger tips, toes) is sufficient for this purpose
if sufficient finger strength can be generated.
Press the body against the surface, getting a feel for the
wall’s material. Look directly upward, selecting the handhold route
you will employ. Grip the ledge, and place the toes on a second ledge
or other projection.
Simultaneously push with the legs and pull with the arms,
gaining sufficient momentum to carry your hand to tile edge of’ the
wall. Maintain your balance by means of the other three points of’
contact. Only one such point is moved at a time in this technique.
Shift the other hand to the wall edge and, using the arms to
bear most of your weight, advance the legs alternately until you gain
the summit. Once there, lie flat and listen for sounds denoting that
you were observed. It is essential when moving on rooftops to avoid
silhouetting. The steeper the angle of the roof, the more one must hug
the surface.
CLIMBING DEVICES
The Ninja, being eminently practical is utilizing natural objects in their penetration of
the perimeter, were also known for their vast array of tools and their predilection for turning ordinary
objects into devices for infiltration.
The Ninja who is a skillful intelligence gatherer will know whether any special apparatus
is necessary for the mission. Remember that any device may become an encumbrance and
every device has more than one function.
the perimeter, were also known for their vast array of tools and their predilection for turning ordinary
objects into devices for infiltration.
The Ninja who is a skillful intelligence gatherer will know whether any special apparatus
is necessary for the mission. Remember that any device may become an encumbrance and
every device has more than one function.
NINJA-TO (Sword of Darkness)
Since the Ninja considered the utilitarian purpose of a device to
be its most important value, it is little wonder that they devised new
uses and variations for the traditional weapon of the warrior-the
sword. One variation was the Ninja’s emphasis on the straight thrust
in combat, as opposed to the cut which was more classical. More on
the sword later.
Bear in mind that the Ninja-To, the Sword of Darkness, is considerably
shorter than the traditional samurai blade. This contributed
to specialization; close-combat swordplay as well as the techniques
of Iajjitsu, or fast drawing methods, were thus emphasized.
The Ninja also considered the uses of the tsubo (fingerguard) and
the scabbard. Even the parts of the blade were named and correlated
to various functions. For example, the spine of the blade represented
tile concept of the shield, being the section which deflected
or stopped tile enemy attack; the flat of the blade was considered armor,
and was the basis for the use of metal bars sewn into the
sleeves of the Ninja costume for blocking, as well as the light chain mail which was occasionally
worn; the edge of the blade, naturally, headed the category of shaken, weapons which are
thrown or launched at the enemy (shurikens, arrows, etc.).
The tsubo, or fingerguard, of the Ninja-To was often larger than that of the samurai sword.
Most often it was also square, as opposed to the traditional circular design. By virtue of these
modifications, its value as a tool was enhanced.
Best known of the uses was the practice of propping the
sword against a wall and using the tsubo as a short step. The sword
would then be drawn up by means of a cord attached to the scabbard.
This method is seldom effective on walls over ten feet in
height, but is quite useful for reaching the eaves of a house and
gaining the roof.
A second purpose to which the tsubo could be put, in addition
to a foothold, is that of a handhold. By hooking the tsubo
over the lip of a low wall, “extending the grip,” sufficient purchase
can be gained to pun oneself to the summit. Further, and this is by
far the most suitable use, one can hang by this method when descending.
Thus one can get closer to the ground and make less
noise when dropping down.
be its most important value, it is little wonder that they devised new
uses and variations for the traditional weapon of the warrior-the
sword. One variation was the Ninja’s emphasis on the straight thrust
in combat, as opposed to the cut which was more classical. More on
the sword later.
Bear in mind that the Ninja-To, the Sword of Darkness, is considerably
shorter than the traditional samurai blade. This contributed
to specialization; close-combat swordplay as well as the techniques
of Iajjitsu, or fast drawing methods, were thus emphasized.
The Ninja also considered the uses of the tsubo (fingerguard) and
the scabbard. Even the parts of the blade were named and correlated
to various functions. For example, the spine of the blade represented
tile concept of the shield, being the section which deflected
or stopped tile enemy attack; the flat of the blade was considered armor,
and was the basis for the use of metal bars sewn into the
sleeves of the Ninja costume for blocking, as well as the light chain mail which was occasionally
worn; the edge of the blade, naturally, headed the category of shaken, weapons which are
thrown or launched at the enemy (shurikens, arrows, etc.).
The tsubo, or fingerguard, of the Ninja-To was often larger than that of the samurai sword.
Most often it was also square, as opposed to the traditional circular design. By virtue of these
modifications, its value as a tool was enhanced.
Best known of the uses was the practice of propping the
sword against a wall and using the tsubo as a short step. The sword
would then be drawn up by means of a cord attached to the scabbard.
This method is seldom effective on walls over ten feet in
height, but is quite useful for reaching the eaves of a house and
gaining the roof.
A second purpose to which the tsubo could be put, in addition
to a foothold, is that of a handhold. By hooking the tsubo
over the lip of a low wall, “extending the grip,” sufficient purchase
can be gained to pun oneself to the summit. Further, and this is by
far the most suitable use, one can hang by this method when descending.
Thus one can get closer to the ground and make less
noise when dropping down.
CH’IANG PI CHU (Wall Climbing Devices)
The Ninja used a multitude of hooks, rakes, and collapsible
ladders to scale enemy walls when necessary. The grappling
hook is by far the best auxiliary tool/weapon for the individual.
It is small, easily concealable, lightweight and, in the proper
hands, noiseless. Further, the vicious hook can be used to flail
the enemy, to entangle his weapon, or simply to beat him; the
sageo (cord) can be employed as a whip, as a net, or to bind
and strangle the enemy. The primary use, however, is in extending
the reach of the user.
Hooks may be single, double, or multi-pointed. In an emergency
the sayo (scabbard) can be tied at the end of the cord
and wedged in a manner which will anchor the line. The cord
of the grapple is derived from sageo which the Ninja wore on
his scabbard. The hook is a derivative of the tsubo.
It is advisable to attach a short length of chain between the hook and the cord to prevent
fraying. This adds but little weight and actually increases the accuracy of the cast.
Illustrated is the basic four-prong snatch-hook apparatus. The grapple consists Of
four steel hooks welded at right angles, ending in two rings; covered with approximately two
ounces of lead (for weight). These may be purchased at any fishing supply house at reasonable
cost, and of a size and nature to suit the user. The grapple is attached to the cord by means of a
short length of chain, which is linked to the double rings in the ends of the grapple and to a loop
in the end of the line by master links. The cord itself is nylon line, one-half inch in diameter.
All of the above apparatus is capable of supporting at least 200 pounds. All scaling apparatus
must be checked before use to insure safety. The grapple and chain are normally held in the
right hand, while the left holds the line loosely coiled.
Naturally, for the grappling hook to be effective, the implement itself
must sail over the obstacle, and carry the cord with it. Then the hook
may be set and the wall ascended. However, two things make this
difficult: the method of casting the hook; and the play-out of the line.
One can throw the grapple precisely into place, but if the line tangles
or hangs up, the toss is useless. Therefore, learn to coil the line.
Hold approximately six inches of the cord between the
ball of the thumb and the first joint of the index finger of the left
hand. Take a similar grip about two feet down the cord with the right
hand, and pull the line taut.
Bring the right hand to the left, twisting the rope between
the fingers of the right hand to impart a slight curl to the line. Slip
this coil between the fingers of the left hand, forming a loop about
eight inches in diameter in the left hand.
Holding the loop in the left hand, slide the right hand
down the rope the same distance as before, and coil another loop into
the left hand, remembering to twist the line, until the entire twenty or
so feet have been collected lariat-style in the left hand.
ladders to scale enemy walls when necessary. The grappling
hook is by far the best auxiliary tool/weapon for the individual.
It is small, easily concealable, lightweight and, in the proper
hands, noiseless. Further, the vicious hook can be used to flail
the enemy, to entangle his weapon, or simply to beat him; the
sageo (cord) can be employed as a whip, as a net, or to bind
and strangle the enemy. The primary use, however, is in extending
the reach of the user.
Hooks may be single, double, or multi-pointed. In an emergency
the sayo (scabbard) can be tied at the end of the cord
and wedged in a manner which will anchor the line. The cord
of the grapple is derived from sageo which the Ninja wore on
his scabbard. The hook is a derivative of the tsubo.
It is advisable to attach a short length of chain between the hook and the cord to prevent
fraying. This adds but little weight and actually increases the accuracy of the cast.
Illustrated is the basic four-prong snatch-hook apparatus. The grapple consists Of
four steel hooks welded at right angles, ending in two rings; covered with approximately two
ounces of lead (for weight). These may be purchased at any fishing supply house at reasonable
cost, and of a size and nature to suit the user. The grapple is attached to the cord by means of a
short length of chain, which is linked to the double rings in the ends of the grapple and to a loop
in the end of the line by master links. The cord itself is nylon line, one-half inch in diameter.
All of the above apparatus is capable of supporting at least 200 pounds. All scaling apparatus
must be checked before use to insure safety. The grapple and chain are normally held in the
right hand, while the left holds the line loosely coiled.
Naturally, for the grappling hook to be effective, the implement itself
must sail over the obstacle, and carry the cord with it. Then the hook
may be set and the wall ascended. However, two things make this
difficult: the method of casting the hook; and the play-out of the line.
One can throw the grapple precisely into place, but if the line tangles
or hangs up, the toss is useless. Therefore, learn to coil the line.
Hold approximately six inches of the cord between the
ball of the thumb and the first joint of the index finger of the left
hand. Take a similar grip about two feet down the cord with the right
hand, and pull the line taut.
Bring the right hand to the left, twisting the rope between
the fingers of the right hand to impart a slight curl to the line. Slip
this coil between the fingers of the left hand, forming a loop about
eight inches in diameter in the left hand.
Holding the loop in the left hand, slide the right hand
down the rope the same distance as before, and coil another loop into
the left hand, remembering to twist the line, until the entire twenty or
so feet have been collected lariat-style in the left hand.
SPIN METHOD OF THROWING THE GRAPPLE
Hold the grapple by the end of the chain and whirl it clockwise to build up momentum;
the faster the spin, the higher the hook will sail. Centripetal force will cause the hook to
fly off tangentially to the circular path which you are creating. Hold the rope loosely coiled in
the left hand. Be careful to hold the hook away from the body, lest you accidentally hook your
leg.
Release the chain and grapple in an underhand toss in such a manner that the hook
sails over the wall. Note that the line plays out of the left hand smoothly as the fingers are
slightly opened.
This method is employed when it is necessary to scale an unusually high wall, or where there
is little room to throw effectively.
the faster the spin, the higher the hook will sail. Centripetal force will cause the hook to
fly off tangentially to the circular path which you are creating. Hold the rope loosely coiled in
the left hand. Be careful to hold the hook away from the body, lest you accidentally hook your
leg.
Release the chain and grapple in an underhand toss in such a manner that the hook
sails over the wall. Note that the line plays out of the left hand smoothly as the fingers are
slightly opened.
This method is employed when it is necessary to scale an unusually high wall, or where there
is little room to throw effectively.
HOOK METHOD OF THROWING
THE GRAPPLE
Hold the chain and grapple
in the right hand by the loop. Let the
grapple almost touch the ground near
the right foot. Shift the weight slightly
to the rear. Hold the rope loosely coiled
in the left hand. Look at the spot where
you want the grapple to strike.
Sling the grapple over the
wall in the same way you would shoot a
hook shot in basketball. This is by far
the most accurate method for scaling
walls of moderate height. Note that the
weight is shifted forward on the cast,
and that the fine feeds smoothly out of
the coils in the left hand.
in the right hand by the loop. Let the
grapple almost touch the ground near
the right foot. Shift the weight slightly
to the rear. Hold the rope loosely coiled
in the left hand. Look at the spot where
you want the grapple to strike.
Sling the grapple over the
wall in the same way you would shoot a
hook shot in basketball. This is by far
the most accurate method for scaling
walls of moderate height. Note that the
weight is shifted forward on the cast,
and that the fine feeds smoothly out of
the coils in the left hand.
TOSS METHOD OF THROWING THE GRAPPLE
Hold the grapple, chain and all, in the right hand. Hold the
rope loosely coiled in the left hand. Toss the grapple upward over the
wall, allowing the chain to play out en masse. This technique is used
to place the grapple on the summit of a low wall.
The Grapple is a variation of the Ninja Retrievable Stone technique.
The agent would practice hurling and whipping a weighted ball on
the end of a rope as a weapon. In combat, this flail or mace could be
devastating. Likewise, when the rope was tipped with a knife or
blade, the Rope Dart techniques of throwing and retrieving the knife
came into play. This practice enabled the Ninja to use his Grapple to
great advantage.
rope loosely coiled in the left hand. Toss the grapple upward over the
wall, allowing the chain to play out en masse. This technique is used
to place the grapple on the summit of a low wall.
The Grapple is a variation of the Ninja Retrievable Stone technique.
The agent would practice hurling and whipping a weighted ball on
the end of a rope as a weapon. In combat, this flail or mace could be
devastating. Likewise, when the rope was tipped with a knife or
blade, the Rope Dart techniques of throwing and retrieving the knife
came into play. This practice enabled the Ninja to use his Grapple to
great advantage.
CH’IANG SHENG KUNG (Rope Climbing Ability)
Once the grapple has cleared the wall, the line is gradually
pulled until the hook is set. This means that the hook digs
into wood or stone sufficiently to hold your weight, or that
the grapple becomes wedged between two obstructions
tightly enough to hold you. Test the set by jerking sharply on
the line to see if the hook is only snagged. If it is, this action
will either dig the hook in, or pop the hook free.
Having set the hook, look about to see if your actions
were observed. Then ascend.
The quickest method for this is hand-over-hand
with the feet braced against the wall. Gravity will hold your
feet to the surface as you climb by alternately advancing the
opposite arm and leg.
[For more details on overcoming obstacles and rope techniques
see: Way Of The Spider and Infiltration and Assassination
Techniques DOJO Press]
In those cases where such wall walking is impractical,
one may simply climb the rope. Some Ninja used a
method of climbing which employed the toes to grip the
rope. Since they wore the tabi (split-toed socks), this was a
matter of toe strength in most cases. This can be accomplished,
however, by tying knots at regular intervals, and
stepping on them with the toes. Alternately, one can cross
the legs and grip the rope between them to gain a bit more
purchase for climbing.
Once you reach the summit of the wall, immediately
retrieve the rope and clear all evidence of your passage. If the
rope is to be used for the Tonpo phase of the mission, conceal
it where the crossing will be made. The hook is a disposable
weapon, as is the shuriken. It can be left behind or discarded
at any time. Still, it should not be left in such a way that it
will betray your presence.
Remember also to avoid silhouetting while on top of the wall.
A third technique which may be used is the seat
method. In this, the rope is slung under the body to form a
loop where one can sit. The free end is held in the right hand,
which holds the loop firm while the left hand advances on the
rope. Next the right hand slides up to the left, adjusting the
loop as the feet advance.
By reversing this procedure, it is possible to lower oneself
slowly over long distances. It might be said that this is a Ninjutsu
type of rappelling.
pulled until the hook is set. This means that the hook digs
into wood or stone sufficiently to hold your weight, or that
the grapple becomes wedged between two obstructions
tightly enough to hold you. Test the set by jerking sharply on
the line to see if the hook is only snagged. If it is, this action
will either dig the hook in, or pop the hook free.
Having set the hook, look about to see if your actions
were observed. Then ascend.
The quickest method for this is hand-over-hand
with the feet braced against the wall. Gravity will hold your
feet to the surface as you climb by alternately advancing the
opposite arm and leg.
[For more details on overcoming obstacles and rope techniques
see: Way Of The Spider and Infiltration and Assassination
Techniques DOJO Press]
In those cases where such wall walking is impractical,
one may simply climb the rope. Some Ninja used a
method of climbing which employed the toes to grip the
rope. Since they wore the tabi (split-toed socks), this was a
matter of toe strength in most cases. This can be accomplished,
however, by tying knots at regular intervals, and
stepping on them with the toes. Alternately, one can cross
the legs and grip the rope between them to gain a bit more
purchase for climbing.
Once you reach the summit of the wall, immediately
retrieve the rope and clear all evidence of your passage. If the
rope is to be used for the Tonpo phase of the mission, conceal
it where the crossing will be made. The hook is a disposable
weapon, as is the shuriken. It can be left behind or discarded
at any time. Still, it should not be left in such a way that it
will betray your presence.
Remember also to avoid silhouetting while on top of the wall.
A third technique which may be used is the seat
method. In this, the rope is slung under the body to form a
loop where one can sit. The free end is held in the right hand,
which holds the loop firm while the left hand advances on the
rope. Next the right hand slides up to the left, adjusting the
loop as the feet advance.
By reversing this procedure, it is possible to lower oneself
slowly over long distances. It might be said that this is a Ninjutsu
type of rappelling.