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| * [[Braecen Kaeth]] | | * [[Braecen Kaeth]] |
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| * Strageo Thanatos Entar Arconae | | * [[Strategos Thanatos Entar Arconae]] |
| * [[Quejo Drakai Xyler|Quejo Drakai]] | | * [[Quejo Drakai Xyler|Quejo Drakai]] |
| * [[Arania Lawakiro Palpatine]] | | * [[Arania Lawakiro Palpatine]] |
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| [[Category:Lightsaber Combat]]|} | | * [[Meleu Karthdo]] |
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Revision as of 18:02, 29 August 2014
Ataru is the fourth form of classical Lightsaber combat, and is regarded as a highly kinetic and aggressive form.
Explanation
Form IV is an acrobatic form that allows the combatant to draw upon his or her athletic prowess to outmanoeuvre an opponent. Developed in a more violent time, Form IV developed as a more aggressive style than most other forms, to reflect the inherent danger a Jedi had to face during those days. A successful master of Ataru relies on his or her dexterity and speed and a master almost never stops moving during battle.
Though there are no fatal blows available to practitioners of Ataru, Form IV forgoes power in favor of wearing an opponent down gradually with a barrage of high speed, rapid attacks. It is especially effective against single opponents where it can often be impossible to hope to keep up with the movements of a master. In general Form IV is equally effective against lightsaber and ranged opponents.
Ataru is considered a soft art due to its flowing and flexible nature. The Ataru adherent attempts to overwhelm their opponent with constant attacks and deft acrobatics, relying heavily upon distraction and dexterity to wear their opponent down enough so that they may be apprehended with ease.
This form, sadly does leave something to be desired in the defense category, relying more upon their consistent and ever-present attacks more than attempting to defend themselves. This translates into often leaving oneself open, over-committed to their own attack, and open to counter attack. Many times, a saberist will compliment this form with the defensive abilities of another style to round themselves out more.
Grip
Held in an almost relaxed grip, the Ataru stylist changes his grip based upon the manoeuvre. In general the flexibility in the grip is achieved by using half of the fingers held loosely and the other half held tightly, allowing for easy spins and slices.
Stance
The standard ready stance of Ataru is quite literally standing there. Some masters prefer to turn slightly sideways and bring their saber up in a gesture to show that they are ready, a mark of respect.
Striking
This form is very dynamic and somewhat aggressive. The form calls for a near constant attack stream, relying upon the saberists speed and persistence to overwhelm their enemy's defenses. Many acrobatic stunts are used to help catch the enemy off guard and to find gaps in their defenses that the Form IV adherent can access.
Defense
Unfortunately the constantly whirling attacks prove to leave the adherent somewhat undefended at many times and occasionally overextended. The major reason Jedi Master Yoda was able to use this form so effectively was because his small frame made him naturally more difficult to strike. A larger adherent would likely find the weak defenses of Form IV a liability.
Requirements
A student wishing to study Ataru must have first mastered the third circles of both Soresu and Makashi as well as have a minimum of 31 points between Dexterity and Charisma.
Upon mastering the fifth circle of Ataru, a student learns how to reverse the grip on their saber without penalty.
Changing your mind
It is known that the Jedi Obi-Wan Kenobi, a hero of the Clone Wars, for the Old Republic originally trained in Ataru under his Master, Qui-Gon Jin. It was noted that Kenobi was nearing mastery of the form when he bore witness to the pitfalls of the art as concerning defense. As his master fell to the blade of Darth Maul, Obi-Wan discovered this hard lesson.
After returning to the temple, Kenobi cast aside his training in Ataru and began the study of Soresu, becoming one of the masters of the more defensive form.
The lesson we have to learn from the Jedi is that one should not be overly dedicated to any one art and succumb to the stagnation that comes with it. Do not feel as if you must complete any one form to mastery.
Adherents
DJB Adherents