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Lesson 6 Practice

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8:43 PM - Jun 05, 2014 #1

The ring inside the PRW Training Center/SWARM dojo is surrounded by the superstars of the home company as well as members of Wild Hearts, SWARM, WCW, TNG, and SNS (though they're more there as support). Matthew Logan is in his warm-up inside the ring, lecturing from his pulpit, along with the support team of enhancement talent.

"So, you fuckers finally get to live your dream because I'm going to show you, in essence, how work a squash match. I say in essence because form dictates that every match you try to work would be 'perfect' scenarios of playing out your match but the obstacles of guys countering, resisting, or some sort of reversal of fortune really prevents that. This is how I want to get into workrate. Having two or however many guys just taking turns doing moves is not a good way to work a match. Sure you’ll have flippy moves and whatnot but what good is that when you aren’t giving a reason for having a however long match. I’ve seen matches with a bunch of first and second year guys just doing that and it’s cool for a second and muti-man matches are really perfect for this type of work because that’s how a lot of guys start and more often than not you’ll see young guys after the first few jobs out of wrestling school guy put into matches like that. But once you start to build a repertoire, you need to focus in. You need to work on the most efficient ways possible of working your style of match and that’s how squashes really work more or less. In these perfect scenarios where one guy is completely unprepared the guy going over can just work circles around him and show off what he can do.”

Travis steps over to Matthew and the two meet in the center with Logan lecturing to the group.

“Probably the most important part of workrate is telling a match. I mentioned in the other lecture that it’s a lot like telling the same story with with a different voice. That being said, guys, you need to let vets take the lead. During my match with Mark last year I was coming off an injury and Mark’s opponent couldn’t make it so I wanted to step in so the guy had a match that night. And I was trying to take the lead and show Mark what to do; I was actively telling him how to beat me and I was getting really frustrated because he was just all over the place. ‘Mark, over here. Mark, block at the hard camera.’ But the most frustrating thing…”

“Getting pinned!” an unknown loudmouth shouts out.

“That sucked too but more than that was him just trying to take the reigns and when he did I would have to adjust and then he would change his mind again so I would try to reel him back in and he would fight me every step of the way. Coming off elbow surgery, I wanted to focus on that, fighting back from injury and all that and Mark would avoid my arm like it had dog shit on it. It might have and nobody told me but just constantly ‘Mark, get the arm. Mark, grab the arm. Mark, left arm.’ And a similar thing happened with Aki with the ankle thing. That time I really wanted to let her take the lead and it just didn’t work mostly because she wasn’t used to this style and it really made the match look a lot dirtier than it should have. With Carlos, God bless him, he just… it was more frustrating because I wasn’t in there so I had to relay through Kevin or through the ref or to Jenn to the ref. That’s why there were so many people on the outside; so I can talk to Carlos during the match. So, someone has to take the lead. Always. And that’s why it’s important to have your spots in order. You should never just hodge-podge some shit you saw on YouTube; you need to learn how to work with your move set. You need to know how to flow your moves together and this isn’t entirely from an offensive perspective; you need to know how to work in your comebacks. The well-timed knee or the jaw breaker or atomic drop aren’t always going to cut it all the time. It’s important to know how to mesh in counter-offense and defensive strategy for those times when someone else is taking the lead but you want to get your shots in. So me and Travis are going to start.”

Logan and Kim lock up and Travis immediately ducks behind and hammers Logan with a forearm to the neck. He keeps the pressure on by beating him down and stomping on him before pulling him up in a clinch but Matthew rips away. He swings with a wild lariat and Travis ducks under. They turn back to each other and Kim nails Logan with the knee to the gut and Matt trips over himself; stumbling into the corner. Matthew pulls himself up as Kim comes in, about to finish him off but Logan gets the boot up. Travis spins out and falls against the ropes; Logan steps up off the third rope and nails Travis on the chin. He pulls him out into a front facelock as sits on the top turnbuckle, standing tall to swing his legs around and land on his feet: stopping right there.

“The most important part of ‘leading-following’ is that it should be seamless. Nobody should obviously be able to tell, ‘Oh, blah is going to squash.’ That’s how a squash works is one guy gets in all of his spots and the other gets nothing or close to it. That’s why working in counters and chains are important because it blends the whole thing together. The Jerry Lynn/RVD series is a prime example. We know now Jerry Lynn took the lead on those matches because legend holds Jerry Lynn could wrestle a bag of shit and make it look good. But it was seamless. Rob had his spots and he worked them in so flawlessly that you could never tell who was calling the match. Great matches work that way. Steamboat-Flair worked that way. Rock-Austin. The big matches that stick out in our minds had that seamlessness to the point where you couldn’t tell it was worked; it was just a dance. Improvisation isn’t about pulling something out of your ass; it’s about rehearsing scenarios so that way when a situation arises where it fits it’s a knee-jerk reaction. A good match. A lot of you have more than one finish so I’m going to ask you to try to work two squashes. Work in counter-offense, have that spot or two on the ready so you can just pull it out when you need it. Don’t think pure ‘smash, hit, pin;’ work in reversals with your signatures. I’ll start with Travis. Watch me.”

The ring clears of all but Kim and Logan. They circle each other and tie up with Logan cinching in the headlock. He pins Travis’ head against his chest like a vise before the big guy prys at the arm, turning out as he wrenches the wrist back with a top wristlock. The force and leverage on the surgically-repaired arm starts to bend the former champion back but Matthew twists through, going behind Travis with a full nelson. He spins Travis out, taking careful consideration to control the left arm as he pulls him back in and drops down with an armdrag variant. The nimble Korean rolls to his feet and Logan is still on a knee as he comes in. He goes to pull him up in a clinch and Matthew picks the ankle with a takedown before scissoring the foot in a classic toe hold.

Travis grits his teeth but sits up to trap the arm in a half nelson before laying back and kicking his leg over for an armbar attempt. Logan frees Kim’s leg and rolls back with him before stacking up and fishing his hand through Kim’s legs to set up a crab but flips over with a jackknife instead. Kim tries to bridge up but Matthew spins his legs to the side, locking down the arm and turning Travis over into the wakigatame. Logan doesn’t try to work the sub, immediately rolling across Travis’ back to his feet. Kim pokes his head up and Matthew tags him with a buzzsaw kick to the temple.

Matthew pulls Kim up and cradles the head in a chancery before setting up the Complex. He lifts TK up but Kim slips out the back and shoves Logan away, running past him to the ropes. Matthew turns expecting Kim but instead gets clubbed on the back of the neck with the Homecoming lariat. Travis pulls Matthew up and sends him into the corner before backing up to the far side. He gets a long run up, before diving in from practically half-court and gutting Logan with a massive Superman corner spear. The impact wrenches Logan’s guts and he slinks along the ropes to the adjacent corner while Travis shouts out at the attending. He closes in on Matthew and Logan goes for the kick but Travis catches it. He tries to pull Matthew out of the corner by his leg and Logan hangs on to the ropes. Travis grabs the other leg, ready to swing Logan up and slam him. He does that, bringing Matty’s heels high but the lucha-trained instructor flips through and lands on his feet like Jackie Chan. Also like Jackie, he immediately stumbles back into the corner. Travis goes to follow up and Matthew catches him with a boot to the jaw. Travis spins out against the ropes and falls into the corner as Matthew slinks out of the way.

Logan steps out to the center of the ring before turning back, taking a long breath, and running back at Travis with a head of steam and nearly snapping his neck with the cornered Yakuza Kick. Travis slumps out of the corner and starts to rise, getting to a knee before Matthew lets out a yell and pounces on him with a short, powerful left forearm smash he calls “The Kill.” The screws and plates meshing with the bone and cracking against Travis’ skull knocking him out for the three count. Logan helps Travis up.

“Alright, who’s up first?”

TBC any
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Trisha aka "Breadquanda," May 8 2014 wrote:All white people do is listen to "dont stop believing" and break iphones
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4:19 AM - Jun 06, 2014 #2

Paola Altieri (Dixie Lanford) walks up to the ring in black sweats and a white sports bra, elbow and knee pads, hands in wraps; Ronald Herschel (Bubsey The Clown) walks up beside her in blue shorts and a whit T-shirt, and they both enter the ring, squaring off.

The two circle each other until Ron barrels in with a Forearm that Paola ducks under; Ron spins about and Paola lands a Dropkick, connecting two more in succession as Ron bounces back fast for them. After the third Dropkick, Ron creates distance, rolling back a ways. Paola charges in, taking a Monkey Toss that lands her on her back; she rolls through onto her feet and Ron rushes her against the ropes with some Right Hooks and then whips her to the ropes opposite.

Off the rebound, Paola raises a Kick into an anticipating Ron, in a Back Body Drop position; as Ron wobbles back with the sell, Paola backs him up further with a flurry of Forearms and then nails him with a Spinning Heel Kick. Rolling in, Paola slaps on a Side Headlock, and Ron battles his way up, taking her along; he elbows out and slaps one on Paola in turn, carrying her over with a Headlock Takedown where he holds on with a Headlock of his own, drawing arm prying and flailing out of Paola.

Bringing her legs up, Paola wraps them around Ron’s neck and tugs, shifting on his back and her in a sitting position holding a Triangle Choke; selling with gagging, Ron stands his way up slowly with Paola still attached. At a vertical base, Paola pitches herself into a swing and throws Ron to the mat with a Hurricanrana.

Coming up dizzy out of the bump, Ron takes a swift kick to the stomach that doubles him, and Paola moves in, hooking his head, and slapping him between the shoulder blades before pitching back for a DDT; after landing the throw, Paola runs a hand through her hair, heaves and goes up top, she leaps into a Moonsault off the turnbuckle. Ron rolls towards the turnbuckle and Paola lands on unsteady legs, open for Ron to rush her with a Clothesline that bowls her to the mat for a stiff bump that Paola sells with a grimace and a groan; dragging her up, Ron floors her right away with a snappy Scoop Slam and then drills her with Stomps to the head.

When he leans in to drag her back up, Paola turns sideways on the mat, and snaps out a fast Roundhouse from the floor; she takes a moment to rub her head as she stands fast and turns away from a stunned Ron, Springboards off the middle rope and twisting through the air into a Spear. Floored, Ron gasps his way up to his feet and Paola is right there, sweeping his leg out after grasping him around the waist with her, pitching him forwards. Ron’s face smashes into the mat, he bounces onto his back and Paola makes the cover for a three count.

Paola sighs as she stands, rubbing some perspiration from her face and walking to the ropes; concluded, Paola looks up at Logan as Ron slides out onto the apron and then to the outside.

TBC: Matt
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3:01 PM - Jun 06, 2014 #3

"Okay, Dixie, hun; keep in mind that this is an exercise in building familiarity. Think about how you want work in spots on the regular. An easy way to imagine that is to think of moves everyone does or can do and think of ways to fish that in, y'know."

Logan enters the ring, Paola backs into the corner and Logan and Bubsey take the lead.

"You need to think of this in terms of giving fans that spot to look forward to. It can't always be your finish; I want to emphasize that. Because, first and foremost, not everyone always wins and if you do your finish every match and you don't win every match, your finish ends up looking pretty weak after awhile. So you need to think of integrating lower-tired signatures into building that spot. Like the DDT. Ya just did a Jake "The Snake" DDT off a boot. If you're going Roberts style, do the other set up. You're small enough that people will try to body slam you. The body slam is like the most basic move. Make people regret trying to body slam you. When you get scooped up, slip out back, spin 'em around and plant 'em with the DDT. That's what I mean by counter-offense. Make everyone but your opponent see that most obvious follow up and when they go for it you just snag 'em. I'm shocked every time when I see someone attempt to hip toss BxB Hulk or Amazing Red because every time they do that duck under twist. But it's ingrained. By the time you've had your first match you've done a hip toss at least 100 times; it's just apart of you psychologically. And they know that and they know the way out of it is that twist thing. Does that make sense? I'm going to show you more of what I mean by that with one of my spots: the handspring cutter. I'm going to include the tease to it because you want that fan reaction of 'oh, he's about to... oh, nevermind.' That let down is actually a good thing because it means people wanted to see it so when you do it it's a relief; they feel they got their money's worth from that part of your match. So, Bubs."

Logan and Bubsey tie up and the unpainted clown man Ron takes Logan in a headlock before hitting him with a short uppercut to the nose. Matthew slips away holding his face, turning his back to Ron and as he comes in to follow up, Logan sneaks in a back elbow to the head. Matt hops back and sends a thrust kick to Bubsey's mid-section before cinching in the headlock. Bubsey backs him into the ropes and fires him off, dropping down for the trip but Logan hops over to continue running the ropes. Ron gets up, sidestepping the shoulder block attempt but Matthew drops forward into a handspring against the ropes. Bubsey quickly steps out of the way as Logan flips with a back tuck and lands on his feet.

Bubsey charges in, only to get taken over with an armdrag. They get to their feet simultaneously, Logan charges in. Bubsey goes for the hip toss but Matthew hangs on with a japonesa Mexican armdrag that sends him into the corner. Logan runs over to follow up but takes an elbow to the jaw. He stumbles back and turns, making space: too much space. He keeps heading towards the ropes and Ron comes in to follow up but Logan suddenly drops into a handspring near the ropes, springing back and catching him with the Ace Crusher out of nowhere. Matt sits up and looks over at Dixie.

"You catch my drift?"

TBC Dixie/Paola
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Trisha aka "Breadquanda," May 8 2014 wrote:All white people do is listen to "dont stop believing" and break iphones
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4:17 PM - Jun 06, 2014 #4

Paola gives a tentative nod to Logan as Ron walks up to her.

“Let’s try the Body Slam spot, Paola.”

The two square off, circle, clash, and Ron spills Paola backwards into a roll; when Paola pops up, Ron is there to hammer her into the ropes with Forearms and then whip her to the opposite ropes, nailing her with a Monkey Toss. Paola rolls through with the move on to her feet holding her back for the sell; Ron moves in and scoops her up into the air for the Body Slam.

As Ron turns Paola to bring her down, she slips out of his grasp over his shoulder, landing on her feet behind him; what follows is obligatory. Paola turns Ron about, hooks his head, and slaps him between the shoulder blades before pitching him into the mat for the DDT.

Ron sits up after the execution suddenly, and looks over at the sitting Paola.

“That probably felt better, and it’s a common move that tends to go through nine times out of ten, along with Vertical Suplexs, and Back Body Drops; they’re also the commonly countered moves into various signatures maneuvers.”

They both stand and reset.

“Let’s try the Suplex, okay, Paola?”

Nodding her assent, both go into a clinch, and Ron spills Paola fast, working her over with stomps that she sells by turtling up; Ron leans in and drags her to her feet, drapes one of her arms behind his neck and grabs a handful of her sweatpants, then lifts her into the air.

Paola wriggles free, flipping out of the throw at the midair pause and landing behind Ron, spinning him about and nailing him with the DDT identical to before, slap between the shoulders and the snap back pitch to the mat. And again, Ron sits up fast and turns to Paola, talking with his hands as he talks verbally to the rookie.

“When I did the Back Body Drop setup earlier for you, there was actually another two counters I expected you to go for instead of just kicking me in the face and then in the stomach and then the DDT; that’s kind of like button mashing a combo in Street Fighter II, it works in video games, but in the ring it’s a visual abortion to the audience. I think you have an idea of what to do now after the Body Slam and the Suplex spots, so let’s try it again.”

Standing back up, Ron snags Paola into a Headlock, then whips her about and pitches her into the ropes; Ron drops low into the position for the Back Body Drop as Paola comes in fast off the rebound. He lifts the light women up into the throw, and she escapes by rolling through the lifting porting, rather than being flung up any further; on her feet behind Ron, Paola spins him around, nails him in the stomach with the kick and hooks the head, slaps him between the shoulder blades, and then pitches back with him for the DDT.

Ron sits up fast.

“And the second counter is actually a bonehead give away if you don’t think too hard; I’m going to just pitch you into those ropes, go down for the Back Body Drop and you should be able to figure out the rest!”

Reset, and go; Ron takes the lead, pounding Paola into the ropes with Chops, and then hooking her arm under the top rope for some torquing for her to sell, he feeds her info between shouting obscenities at what would normally be a live crowd but in the gym it’s the rest of the enhancement talent and rookies he does this in front of.

He whips Paola to the opposite ropes and drops low for the maneuver as Paola comes in from off the rebound; she slows up last second, hooks Ron’s head, slaps him between the shoulders and snaps him back with the DDT.

Ron sits up again, and looks to Logan, as does Paola.

“I don’t know, think she gots it, Matt?”

TBC: Matt
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4:51 PM - Jun 06, 2014 #5

"Yeah, she's got it. It's the little things like that. Also don't think of the move itself as the signature of the spot; maybe it's the positioning or the set up. I've seen that backslide twist neckbreaker off a clothesline attempt a bunch of times but sometimes they stop short with a DDT or they spin through to set up a suplex or fireman's carry; do something like that for your small package set up. Hook, duck through, twist, and inside cradle instead of a neckbreaker. Shit like that; think of move progression in like a 3D perspective; relate it to proximity to ropes, corners, the ref, ring barriers, et cetera. Don't limit yourself to the middle of the ring; think about how you can relate to other points in the ring. Here's another example. Doing a backslide is okay but to make it a noteworthy signature or addition requires some extra flair. How about instead of a pin, do it at high speed and so their head hits the turnbuckles. You can set up corner attacks, they roll out of the ring and it sets up a dive. And think of the set ups leading in because they're second nature set ups. Little things. Okay, squash Bubsey again."

TBC Dixie
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Trisha aka "Breadquanda," May 8 2014 wrote:All white people do is listen to "dont stop believing" and break iphones
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9:37 PM - Jun 06, 2014 #6

Ron and Paola square back off again, and Ron takes the lead after a brief period of circling, pulling Paola into a Headlock, and parades her some before she elbows out with three sharp impacts that he bounces with to sell. Snagging Ron’s wrist, Paola puts a twist to it and cinches on a Wristlock; Ron spins through, clasping Paola’s wrist and reverses into a Wristlock of his own and then brings it in close for a Hammerlock.

Paola slams back two quick elbows, breaking up the lock, and then turns out, transitioning behind Ron with a Hammerlock of her own; Ron makes the necessary groans between feeding Paola orders and then sends her forward over his shoulder to the mat with a Snapmare. Paola rolls through the impact and onto her feet, popping up and holding the small of her back for the sell as Ron charges in with a flurry of Forearms, battering her against the ropes; he whips her to the opposite ones and goes down for the Back Body Drop right near the ropes as Paola comes back at high velocity off the rebound.

He pitches her up and over the ropes and she lands sure on the apron; Bubs’ whips about and takes a swing at Paola, who, ducks the Punch and uses the middle rope to help her drive her shoulder into Ron’s stomach, doubling him. Paola then snags the top rope and uses it to slingshot herself forward over Bubs’ back and into a Sunset Flip with enough momentum to carry him into the pin position.

A quick kick out and both are up, Ron taking the lead and Arm Dragging Paola up and over and slapping on a quick Arm Bar; Paola struggles her legs up and around Ron’s neck and pulls him to the mat in a Triangle Choke. Battling up to his feet, Ron positions Paola for an Electric Chair Drop once he makes a vertical base by vicing her ankles with his arms. Unable to escape off him, Paola pitches her weight forward, rolling and trapping Ron in a Roll-up Pin.

Another kickout and the two race up to their feet; Ron blasts Paola with a Kick that doubles her and then pounds her back, driving her to her knees. Ron grabs both sides of Paola’s head and drags her to the corner where he hammers her with some rights before torquing her arm under the rope, shouting loudly between instructing. He steps away and Paola slumps in the corner; Ron smiles and charges forward with a Clothesline and Paola escapes to the side last second, causing Ron to crash chest first into the corner and stumbling backwards on unsteady footing.

Paola hooks an arm between his legs and pulls him down into a Schoolboy; Ron kicks out and rolls onto his feet first. He bowls Paola to the mat with a Running Elbow and then drags her up, positioning her in front of him for a Back Drop; he lifts and throws, but Paola rolls out of grasp, and lands in a crouch behind him. She turns a bewildered looking Ron about, buries a Front Kick and then hooks his head and slaps him between the shoulders before pitching him to the mat with a Snake DDT.

Laid out; Paola goes to the turnbuckle top with a fast climb, measures for the spot with a glance over her shoulder and lands the Dixieland right on the mark for the one, two, three. Rolling away, both a little sweaty, Ron stands first and gives Paola a hand up.

Brushing away hair and sweat, Paola looks to Logan.

“Is that better, sir?”

TBC: Matt
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11:58 PM - Jun 06, 2014 #7

"A little diversity would be nice but you got the main idea. Think more about situational awareness down the line and try to figure out ways to make those more standard moves your own. Anyone else?"

TBC Anyone
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Trisha aka "Breadquanda," May 8 2014 wrote:All white people do is listen to "dont stop believing" and break iphones
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12:32 AM - Jun 10, 2014 #8

Stepping out from the back walks someone completely unexpected, as out walks 'The Dragon' Travis Levitt! The Dragon has on a pair of white sweatpants, black elbow pads and gloves, and white boots. Walking alongside him is Jester C. Jackal. Walking towards the ring, Levitt pauses briefly to nod at Dixie on her way out, and then steps towards Logan.

"Gotta get the rust out before Fest. Figure here's as good as anywhere."

Rolling into the ring, Levitt gets to his feet and rolls his arms, letting Jackal climb into the ring. Circling the ring slowly, the two finally meet in the center of ring with a collar and elbow tie-up, but Levitt instantly yanks Jackal down into a side headlock. Pulling tightly on the headlock, Levitt squeezes down as Jackal flails his arms, before placing his hands on Levitt's back and pushing him off. Levitt runs into the ropes but comes back with a shoulder block, knocking Jackal down. Levittt stands over Jester for a moment, and then turns and charges into the ropes, but behind him Jackal kips to his feet, and as Levitt rebounds Jackal leap frogs him. Levitt rebounds again, and gets caught with an armdrag by Jester.

Levitt hits the mat but rolls to his feet and comes staggering back to center ring, where Jackal armdrags him again. Climbing back to his feet, Levitt turns towards Jackal once more, and Jester catches him with a dropkick to the jaw knocking Levitt down again! The Dragon stays down for a moment shaking his head, before Jackal grabs him by the head and dragging him to his feet. Drilling Levitt with a forearm to the jaw shoving him back into the corner, before backing up and raising an arm overhead and twirling it. Charging in Jackal leaps up and tries to corner splash Levitt, but The Dragon ducks to the side and Jackal crashes into the corner! Jackal starts to stagger out, but is grabbed by the throat by Levitt and pushed back into the corner before Levitt fires off a knife edge chop to Jackal's throat. Jackal wheezes and leans forward, but Levitt pushes his head back into the corner and fires off a second, then a third chop to Jackal's wounded throat. Grabbing Jackal by the arm, Levitt starts to pull him from the corner, only to spin him back around, pull him into a drop toe hold, and trip him throat first onto the top rope!

Jackal bounces back clutching at his throat and Levitt gets up to his feet slowly turning towards the downed Jackal with a sneer on his face. Sizing Jackal up, Levitt leaps up and drops a knee on Jackal's throat, causing the downed man to squirm and spasm around the ring. Levitt slowly gets back to his feet, giving Jackal a moment to try and suck down oxygen, before The Dragon stalks over to him and stands on his throat. Levitt stands there for a few moments, talking trash down at Jackal before leaping up and dropping another knee to Jackal's throat. Levitt climbs back to his feet, and drags Jackal up by his hair before, pausing to look at Logan with a pained 'Man I wish there was a crowd' look. Whipping Jackal into the corner, Levitt takes two steps forward, and is in the perfect position to be hit with the Whisper In The Wind from Jackal!

Both men are down for moments, before slowly getting to their feet. Levitt is still the better off and catches Jackal with a backhanded chop, before Jackal fires back with a right hand. Levitt fires off another backhanded chop, but again Jester responds with a big right hand. Levitt goes for a third chop, and this one is blocked, and Jester drills Levitt with another right hand, and another! Levitt is staggering back into the ropes, and now Jackal grabs Levitt by the back of the neck, takes him across, and drives him face-first into the turnbuckle! Levitt spins and starts to slump down, but Jackal instead grabs him, and lifts The Dragon to a seated position on the top rope.

Pausing for a breath, Jackal climbs to the middle rope as well and hooks Levitt's head, looking for a Superplex! The Original Daredevil starts trying to lift up The Asylum Architect, but Levitt grabs the top rope, and refuses to move! Jackal puts him down and tries again, but again Levitt grabs the top rope and refuses to move! Jackal slumps slightly from the effort and Levitt takes advantage, using his own weight advantage to lift Jackal high, and then toss him face-first into the mat with a reverse suplex! Jackal rolls over and away from the turnbuckle, and puts himself in the perfect position as Levitt climbs to the top rope and leaps off with a Diving Headbutt to Jackal's throat! Levitt takes a few moments to stagger up, but he's up in time to size up Jackal, and as Jackal stumbles to his feet, from behind Levitt slinks in and locks on the Virginia Choker! Using his height advantage, Levitt holds Jackal up on tiptoes, keeping the smaller man off the ground as he chokes him out, and after a few long painful moments Jackal taps out!

Levitt lets Jackal go instantly, Jester collapsing to the mat and wheezing a little, while Levitt looks over at Logan and crosses his arms.

"How'd I do?"
JoeyNox wrote:Thats Ace. He's the guy who shows up once every leapyear and dazzles us with his likable characters and slick accent

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3:23 PM - Jun 10, 2014 #9

"I have to ask what was the point of letting Jester get in offense? It didn't flow into anything; nothing came of it. When you are actually, actively, letting a guy get a big shot in it's for positioning. Like after he did the Whisper in the Wind, you should have stayed down longer. You catch your breath, you rest up, and you take the psychological advantage of you know he's about to follow up with something. I know you weren't wiped out but he doesn't He would have probably tried the Twist of Fate right after that and then you could have locked in the katahajime from there or done the shadow lariat. I'm going to ask Evan to help us to to show more of what I mean by taking a tactical defensive approach."

Evan enters the ring with Jester, a monster size difference between the two. Knox shakes his hand and they start to circle each other until Evan cuts across and starts hammering on Jackal with closed rights to the head, interspersing kicks to the stomach as he backs him in the corner and keeps on with kicks and stomps until Logan pulls him out of the corner.

Evan backs up to oblige which provides Jester time to regroup. When Logan lets him back after Jackal, the scrawny jobber is already there to hack away at Knox's leg with a series of kicks. Each blow leads Evan around the ring until he's in a corner and then he sends Knox across the ring. Jester follows him in, looking for a clothesline but Evan backdrops him onto the apron. Jester keeps his footing as Knox swings with a haymaker that's blocked and Jester hits Evan with the shoulder to the gut through the middle rope.

Knox hangs back as Jester sets up the dive. He uses the ropes for momentum on his leap as he jumps to the top rope with a half turn, diving back into the ring with another as he hooks Evan's head and swings around again with the 720. Knox lays there stunned as Jester takes a deep breath. He goes for a pin but only gets two when Evan gets the shoulder up.

Jackal signals for the end as he pulls Evan up in a front facelock. Just as he's about to finish Final Heaven, the former offensive lineman drives Jackal into the corner with a shoulder. Evan grabs JCJ by the hair as he steps onto the middle rope, standing tall before dropping his elbow across the back of Jester's neck.

Evan pulls Jester up and keeps working the neck; this time with a side headlock. Jester has the strength to back Knox into the ropes and send him across the ring, attempting to trip him with a drop down but Evan hops over. Jester stands as Knox bounds back in with a head of steam and floors Jester with a dropkick to the chin. Evan pulls JCJ up by his blue hair before kicking him in the stomach and backing into the ropes. He uses the added momentum as he runs in, clutching Jester's head has he drives his knee into Jackal's face and knocks him down again.

Knox pulls Jester up and plants him with a body slam before hitting the ropes. With his running start, he blocks a big vertical leap, hoping to crash down with an elbow to the chest but Jester moves and Evan hits the canvas. Knox rolls to the corner and JCJ gets up. JCJ runs at Knox and the big guy sidesteps him, Jackal running up the turnbuckles to set up Whisper in the Wind. He dives off with a twist, hoping to drop the big guy with the aerial display but Knox ducks under the guns to the corner and Jackal crashes and burns.

Jester slowly pulls himself up after willingly putting his body thought the equivalent of a car crash. Just as he stands, Evan steps in and drops Jackal with the Savate Kick. He covers for three. Logan turns back to Travis.

"See what I mean? It's kind of like what I told Dixie but being more specialized to suit signature moves. A lot of move setups have that root hold that you can reverse or work into your own move. Do you catch my drift?"

TBC Travis
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Trisha aka "Breadquanda," May 8 2014 wrote:All white people do is listen to "dont stop believing" and break iphones
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