Because the arips in submission sports, and because they are so important, Royler grappling are so different from veill show the prover techniques for the most jivjitsu and most other gi-based important ones. 1. Outside seis grip hele your fingers around the eppanent's wrist, with your tram on tie inside. Gram the wrist as close to tne hand as possible without actually encircling the hand. This gp it good for most tyes of hand and arr conto, as the opponent daes not have a way of grabbing your arm Dack. The weakness fs the thumb area, veith one finger only, which can be escaped by turning the wrst to the area where the fingers meet the thumb and prying out through there. 2, Double outs wrist ge ‘This isthe same as the outside wrist rip, But itn both oem 3. Toco handed wrist grin Both hands grab te vist, wlth the fine gers and the thumb circling it, Grab as near the hanc as possible. This provides great control of the opponent's arts 276 is good for crags or takedorns5. Neck enc Both hands cup the neck area, vith the elbows «lose together, This provides aveat contial of the head and the inside, You can direct the opponent, a5 Nis haely must follow his head, —a— 4 Wrist and elbow grip This is an outside wrist grip combined weith an inside elbow grip. Notice that the elbow grip it just above the elbow on the ‘widest area. This is good for arm drags, 6. Outside wrist grip aith single neck grip Gra tne outside of the wrist and the outside of the neck. Youstill have some advantage over the epponent, as you control his vsrist.7, Handsinterlaced This sa neutral grip, as both fighters hhave equal control, Be sure to keep a firm ‘wrist, becouse if the oppenent is able te bend your varst back, you will be freed +40 g0 wherever he wants 1. Collar sul elbow linet Another neutral aria, this is very ccomman clinch in the stard-up phase of submission grappling mateles. Both fighters cug the out side af the neck and the elbows Keop pressure on the opponent by uling down an his nec and elbove, 9. Collar and inside elbony clinch You contral the neck and the inside of the forearm to the same side with ‘your hands. This is useful te break the collar and elbow clinch, ar10. Two handed ankle grip Both hands grab the ankle as close to- the foot as possible, This provides good control of the leq for passing or for throwing the leg to one side. 1 Insane sip Grab the ankles with each hand on the inside. This is immo Rant for guard patting, tor theowting the ‘opponent's tegs to ane skke, oF for stepping thraugh. t's alo goad for avoiding the opponent's hooks. 12 Under theanile and shia geip ‘One hand cups under the arkle and the other grabs the sop of she shin of the same leg. This is goad for keeping the opponent's back on the mat and prevent- 1g him Irom sitting or standing. a13, Ankle and inside the knee grip One hand controls the ankle, grab: bing it under and outside near the fool, while the other hand grabs the insige of the knee. This afford: you great leg control, as you can torque ‘tie loveer leg, forcing the opponent to turn. Its.also a great way to pass the puard: simply push the rant hand in, and the left hand blocking the inside of the left knee will force the opponent to give you the rinht pass, as he must turn his body: 1 Inside wrist gly THis neutral grip is used tor keep your opponent fram gripping something better, 15. Singlearm grip inside wrist am outside ellinw Grab the inside of the oppanent’s wrist with ‘one hand and the outside of the same elbow ‘saith the other hand This commonly sed inv the open guarsito control one arm, The inside wrist grip is neutral, but the autside oF the elbow: gives you domination of the arm.16, Behind the anlde and over the knee grip ‘One hand cups behind the ankle anc the other pushes over the knee of the same leg. This is goad for guard control and sweeps, Its also a good way ta keep the opponent ot a distance, 17. Hooks, Your faot goes behind the thigh, knee, ar ankle, with the toes curled. ‘This is immensely important in sivdeps and oper guard work, 18, Bebbind dhe ankle and the knee gi One hand grabs behind the ankle while the other grabs behind the knee, This provides gor! leg contral to keep the opponent's back an the ground, —a5—9. Double under the-arms clinch Each arm goes between the opponen and body, clasping the hands together and cinching the opponent's chest close to yaur chest for great inside control. This is great for the standing clinch and especially important for butterfly guard sweeps and taking the back. For butterfly quard control, your arms should be as high as possible (close to the armpit). ‘sarm, 20, Rear clinch ‘This can be over one oF both arms oF na farm at all, Your aims go around the oppo: ent’s waist, with ane hand grabbing the father wrist to lock the grip. Tightness is extremely important, as any space wil alloy the opponent to slip his arms inside to break the grip, For best control, the geip should be as close to the hips as possible. 21, Americana ot Kimura grip Wap your arm around the oppanent's arm an lock your vyrist veith your own hand, This is good for the Kimura but also helps a lot in sweeps,Warm-ups are very important. They not only serve a5 a way te get your muscles loose and avoid injuries, but alko are a way to get your neuromuscular system in gear. The first five positions in this book are drills designed to improve your physical performance and execution of the actual techniques. They can bbe practiced before any training routine and should be done at the beginning of each day of practice, ‘The hip escape drill is a great way to warm up Ravler bends his right tog ‘and plants his right your body, as it uses most of the muscles and joints in your body while replicating ene of the most commonly used motions in submission grappling, the hip escape. Having a *soft* or ip is one of the keys 10 progress in submission grappling. in fact, good hip move- ment is often used 05.0 way to measure progress “The key to this mation is to bend at the waist. & very common mistake—even among advanced practitioners—is to keep a stiff hip while doing the hip excape. Fp Rover stars of £7 ying tlat on the ight next to his body mot, arms siPushing off his right foot, Royler jack- F ‘nifes his hips to his right by pushing his buttocks out while ringing his head towerd his knees. This simulates pushing off an oppanent with nis arms. foyer curs his ett leq in and plants his a c | | felt foot on the mat. Royler brings his body completely tothe neu tral positon, but th tine as his left foot planted and beains the hip escape nn vo the epacite direction And repeats the mation te his left making sure he beds 439Being able to stand up in base is technique, the opponent may attack, push you another very important technique in back down, and score paints for the takedown, self-defense, sports jiu-jitsu, and submission In this second warm-up sequence, Royler “lubri= ‘stapling. Many times in a match, an opponent cates" his knee and hip jaints, along with the ‘will disengage from you and give you the option shoulders to stand up. if you stand up without praper Roples lays dovin flat on PF vho mat with bis legs bent at the knees and both feet planted on the mat Royler sits up, plants his lett hond slightly behind him and off to the side, curls up his left leg, ane Fests his right arm on his rignt knee. Now Royler has a good base, with his weight equally distributed between his right leg and left arm,sp, Royler pushes off his right foot and left atm and raises is hips, while siding his left leg through bbenween the gap formed by his right foat an tet hand, until ne can firmly plant his left foot on the satin base, slightly aehind his body. AL this point Royler has a great three-point bose with his right oot in front, feft foot back, and left hand dar, Note that he keeps his knees bent and torsa low to bhis legs. This is very important because # gives hirw ‘not ony base but also the ability to shift Ns weight fo compensate, in cave his opponent tries to pusi oF pull bins off base Having ascertained that £7 his opponent is not coming forward to push him, Royler extends hit body vhile remaining ale and in good base, Repeat this drill at least five times to each side, ==The ability to maintain balance is 2 very basic aspect of any form of fighting. This is especially so in submission grepplina, because takedown pointsare given a great deal of Importance and being on the tap is such an advan: tageous position, In this drill, Royler integrates his, legs, hips, and arms, along with warming up his nek area, The neck is one of the most important ‘As you begin to warm up and fee! ¢ your bise progressing, sar ene mation dil, While Megaton maintains the pulling pressure, Royle v atk, leading vsith his head and’ pulling Megaton with him. “Walking inbase dill tks areas in submission grappling, and one of the most neglected. Not only is it vulnerable to sub- missions, but because so few holds are effective in submission grappling, it is very common for the ‘opponent to control you by holding the back of your neck. This drill not only uses the entire body together, but it alto develops base when walking while your epponent is cantrelling your neck Royer is in base with his fect firmly 2 planted on the mat, parallel to each other His knees are bert and his hips are lovs, helping him maintain his base. Megatan grabs the back of Royler’s neck with his left hand as he pulls Royler forward, Rayler maintains his bave by jeading wilh hi neck while keeping hh st ea tight, maintaining muscle connection bala gs 10 his hips. AL fist, just develop. ice waithioul any motion, —2—Megaton switches hands and 5277 oulis Royler forward as they ‘walk back and forth, a Notice that itis important for Reyler to keep his head straight and mai tain a straight line with his back all the ‘way to his hips If you bend atthe head, you lose balance and control, “Where the head goes, the body follaws!” i you bend at the spine or the back, thesame thing vill happen, So if you begin to tose your balance and you have to adpst 70 recover, do it with quick steps wile maintaining form sith your uppes bod. This drills useful for both positions, so you should alternate with your partner. Not only is the defensive role helpful, but the attacking partner will develop the balance necessary to take advantage of the controlling hold. a"He whe controlsthe center controls In this pummeling drill, Royler not only makes the position. That motto ismever more you work your arms, shoulders, hips, and feet, but tue than in standing techniques where the per- also makes you practice the invaluable skill of ip son with his arms inside his opponent's armpits ping your arms inside for control controls the middle and thus the entire situation, Royler starts off facing Megaton in the ‘ever-under clinch, veth his ight arm inside Megaton’s lefl arm, while Megaton thas the same position on the ather side. Royler begins the exercise in coordination Megaton by circling his left hand forearm until he can on Megator's right nm and body, while Megaton simultane ly does the same mave to Royler to wark in synchronicity as they exchange arm positions and alternate swinging their shoul ders and heads from skle to side,“The object isto start off slow 2? ned vsarm up, placticing the ability to slip your hands inside your opponent's arms, 26 if you were swimming. ‘After you have mastered the ‘move and warmed up, try tase who can be faster than the other and end up with both arms inside, Detail Notice the hand position: palm fac: ing inane fingers dose together, Aiding aver the forearm just above the elbow to reach the gap “™, between the arm and the body. Do the drill for at least three minutes, until you break a siveat, As you begin to gain speed, try to attain the inside position.In this final warm-up drill, Royler up time to practice important moves. Royler n to take his oppo- likes to use these moves specifically as drills nent’s back and go for a takedown. Again, because they are the building blocks of so many Royler uses a simple technique as a warm-up advanced moves, and because they provide a drill in order to make the best use of the warm- complete warm-up. uses a simple me Fy Rerler starts off facing Megaton in a collar Pond etoove cinch, His right hand is behind ‘Megatan's head, controlling the neck, and his left hand is holding Megaton’s forearm near the elbow. Megaton has a timilar grip on Royler. This it avery common situation in submission grappling. Megaton’ right elbow up, allewing Ropler to his head under. (Mote that if your oppo: ent has an extremely strang grip on you. you ‘may not be able to free yourself so easily in that case, refer to position 7.) Royler makes sure he keeps contact, with his head on Megaton's arm, and uses the back of fis head ‘ta propel Megatan's arm forward witha quick flinch, This not only forces Megaton to lean ferwvard but also prevents him from quickly Royle’ face. replacing his arm in front =Rayler contiewes the motion and slides behing Megaton and bear hugs him. Hotice Royler’s feet position and base. ready to control and accompany Megaton ifhe moves in any direction, Royler needs to keep his head turned to.ane side and his head and body tight on Magaton’s back, pushing against the back, so that Megaton can't _sving his body around and get his arm around Roler’s face 3 Reverse Angle Hotice how Rayler's bear hug traps ftegaton’s arm. This occurs as 0 come quence of the move, since Raylers right arm wasn front of Magoton “and his left one creled around the back, looking for the beor hug. This may not happen every time—an opponent may open his ums wiske—but it isthe ileal situation and sh way you pra Roylers grip, with his left hand elasping his oven right wrist for extra contra. By While mainzaining close contact wath F waegaton and his hips are lower Megaton’s, Royer lifts his opponent, using istegs. 1 Megaton reacts quickly enough 10 pi ‘vent this lft, Royler must switch to the trip shaven in position 6. the mat, turning him in the air “2 so that he lands on his side ard Royler ends up behind him.In position 5, Rayler achieved the bear hug from the back position and s case, Royler must adjust and use a varia- went for a lifting throw, as Megatan did not tion of the common trip to take him down. From react quickly enough. This time, however, there, Royler continues the motion to achieve Megaton reacts to the bear hug by opening his the mounted position, legs wide and dropping his hips down, making it the motions described in position 5, Royler has achieved the bear hug from ehind, but this time Megaton defends by open ing his legs and diopping his hips down, Royler extends his left leg and plants his lett foot right behind Megaton's left heel. Keeping a tigh’ grig on Megaton’s waist, Rayler sviches his right hand te grab around Megaton’s left wrist and starts ta sit back towaed bis right heelTH. As he sits back, Ropler carques 27 raegaton back with him, Megaton, cont step back with his leit leg to regain balance, s0 he Falls. to the mat. Notice that Rayler stil maintains the grip on Megaton’s left wrist and uses nis own left arm to brare and control his fall 10 the mat Royler continues the twist ingetpinning mation, towing Megaton to and throves his ria the fallen Megaton >) Royler continues the 27 motion, achieving the mounted positian, aIn position 5, Royler gat to Megaton’s back by simply pushing up his right elbow and sliding around his arm. There are many cases, however, when your opponent will have a firm grip and be putting pressure on your neck s his grip. His left hand goes from am pushing the elbow to grabbing the back of 2} Megaton’s head, while his right hand grabs Megator’s right forearm near the elbow. F bat the other, one hand pulling on feck and the other holding the forearm near the elbow. Royler tries to push Megaton’s elbow up because of Meg: as he is pulling down on it, making it very hard to simply push his elbows up and take the back. In that case, you will have to change your grip and use the technique demonstrated here to take the back Roylet and Megaton ore locked in a standing le. Both have collar and elbow grips an he back of the slide u t0 take the back, but he can't nis tf grip on his neck ‘We reverse angles here ta better show the grip. Natice how Royler's hand grips Megaton’s forearm.Royler quickly seizes the em opportunity and steps around to take Megaton's back. From hore he can use a variety of take towns, such as the ones demon- sirated in posttions 5 and 6 CContinwing with the reverse angle: With 2 quick motion, pivoting off his feet, Royler sts his trunk to the right, throwing his left shoulder forviard, At the same time, he pulls Megaton’s right forearm forward and releases his head from Megaton's grip by ccing it for- ward. Notice that Megaten will Ise his base and lean forward, because he was asserting so ‘much pressure on Royler’s neck bear hug,) Between the legs takedown aS e ee : ) very reason the defender will fry to prevent you from getting there. The between-the-legs tech: the standard grip. As in pasitian 5, Royler is able nique is harder to master than takedowns from to tap Megaton’s elbow up, but rather than theback, and it may be harder toexecute against sSaing to the back, he opts to use a croteh take- a heavy opponent, but you get to this position dawn, The back is your best option, but for that quicker and can surprise the opponent with it Here Royler demonstrates anather variation of @ takedown starting from a grip other behind the each halsing t applying pressure on Royler's neck. Megaton Foyler tops bi wth is tet going to the hace he ta forsard with his left fag. Notice that Royler steps deep into Megator. I important to drop yaurbins very lowe for this takedown to be successful. es a big step 2 Reverse Angle ‘This angle shows Rayler tapping Megazon's elbow up as he ducks under, Notice Royler’s deep step into Megatan’s legs. This very important as he needs to have his hips centered vv under Megaton easily. Megaton’s hips to be able t ==Royler reaches between Megaton’s legs from behind with his left aim and sees a gris on Megaton’s right leg ‘with his left hand, vshike his right hand remains in control of Megaton's neck. Note hove Royler squats next to Megatan, feet square, tone upright, and hips aushing into the legs. This is the key to the throw: Royler must have his legs bent and square so he caf lftthis opponent straight up with his teas and not his back! Springing off his legs. Royle its ‘Miegaton by the aot) while puting hrs neck forwarc, causing him to be focing own. )} And drops him toward the mat. =eOne of Royler’s favorite takedavns is the single-teg, He likes it becouse of Its simplicity and efficiency, and because it can be applied from a variety of grips and positions (uch as the double grip in position 10). Positions 9. 10, and 11 are all good examples of a key to submission grappling, which is thinking several Mogatan reacts by pulling his head back, yanking Royier forward ‘moves ahead and disguising your intentions, In this case, Royler gets Megaton off-balance by pulling Megaton's head down as he goes far a snap-down. As Megaton reacts by pulling his head back, Royler moves in for the single-leg takedown, Royler pulls Megatan’s head ‘down bard with both hands, He may be doing this to attempt a gu’ lotine or simple snap-dowven take- down. Note that Royler is pushing faack: aff his right leg,Royler quickly seizes the chance to shoot forward, arms-open, to gral Megaton’s sight front) leg. Royle gratis behine Megaton’s fight kage with his right arm and tises his left hand to grab behind Mogator’s right ankle. He completes the takedown by driving his right shoulder forward and dower as he pls upon Megaton’s right Royler continues to pull upon ‘Megaton’s anikle until Megaton is doven on the mat, By retaining conzral af the leg with the seme grip, Royler forces Megatan's back to remain on the mat. Remember that maintaining control and grip of the opponent at all times is one ‘of the keys to attacking,In this variation of the single-leg advantage of control, Royler starts off pulling take-dovin, Royler has a solid double Megaton down and again uses Megaton’s reac- grip on Megatan’s right arm. With this dear tion to assist in the takedown, Royle has a double ip of Megaton’s Since he is controlling. 4 thesiwatien, Rayler pulls Megaton down by the arn. Megatan tries te- snap his arm out of the grip.‘Again Roylercon- ¢ tinues the motion until Megaton is ownon the mat Royler retains control of Megaton’s ankle and leg. From here, he rould go for a guard pass or even a submission hold Using Megaten's reaction ‘against him, Royer atiacks Megaton’s ight lec, grabbing behind the knee with his ight hand, driving bis right shoulder forward anto the thigh, and pulling up on the ankle with hig left handIn this case, Royler has a single grip tage of Megaton’s reaction and uses it to: his an each of Megaton’s arms. Cantrolling benefit: Megaton pulls back and Royler releases the grip battle, Royler attempts to pull Megaton his grip to keep Megaton off-balance as he down, Again, the key te success Is having your shoots in for the double-leg takedown. contingency plan in plaes. Rayler takes advary Dy Royler has an outside grip an each of Mlegaton's wrists, clearly controlling the grip battle. Royler pulls Megaton down by the arms, with the intent of driving him to the mat, but Megatan defends by trying to snap bis arms out af the Grip as he pulls up with his torso, Royler quickly releases the grip on. Magaton's writs, shoots In as he diops down, and attacks Megaton’s legs, grab bing the left one just below che buttocks and the right one just above the knee. Notice that Reyler has his head ta the left side because of his giip ward, now with his left leg, and lifts MMegaton's right leg up, but this time Menatan is able to maintain his balance and has his ‘weight firmly on his left Changing oue angle by 90 degrees, we swe that Royler steps farther Yorveard with his eft jeg until he is square with, Megaton, swings his right leg around, ant hooks Megaton’s left leg that was serving 450 base, sweeping it off the mat 4] Peed Royler ends up on top of the downed ‘Megaton. Notice Royle’ right knee black lng Megaten's left leg, while his left arm traps Megaton’s right log. From this position, Royler that many options: he can ge fora foot lock ty sitting doven with the right foot trapped, a knee bor by spinning around and over Megaton's extenced leg, af he can pass the ‘guard to his Tght through Megator's legs s left around Megaton’s le.If you are advanced enough to be practicing submission grappling, you should have already mastered the upa. However ‘his is such a crucial escape that it is best to give same attention to the finer points of the submis- sion grappling version. The maunted position is fone of the worst spots in which you can find yourself in any grappling sport. The opponent has great dominance over you and a variety of submission options, In jiusitsy, having the o) 10 hold on to makes your upa escape easier, but in submission grappling you must rely on proper ps and leverages. The most important thing you can do when mounted, af course, is not to panic. Many practitioners will try to escape in any fashion by just exploding in a series of misdi- rected bridges and bumps, This will only expend your energy and increase your sense of panic. David is mounted on Royler, Royler starts off by keeping BY his head glued to the mat and his elbows clove to his body to-block David knees from “climbing” Le Royler's armpits, from whieh potition Royler would have very litzle or no paws tovuse his hips. Roylers hands are on his chest, ready ta re ‘Once you have the proper por tue you can advance to the escape, this case, David has his handsan the mat above Royle head to maintain his position ancl his base, Roylor’s fies step 5 99-94 one of David's wrists, In this ease his Fight wrist, with both hands. and protect his neck tron the ground and his legs are bent with the knees up, Rojler pulls avie's wrist to his chest. The power of 200 arms palling ane arm should be enough ta win most of these battles, but if the opponent is very strong, you may have to wigale your body up {6 the opponent’ hand in order to.gain control ‘any attacks, His feet are planted on 2 Detail Note the grip of the verist with bath hands, Royler uses the stan coord grip, with his fins ers wrapped around ‘one side and thumb around the otherRayler controls David’ right wrist with his right hand, keeping it glued to is chest. Keening your elbows close to your body wil give you the most power and leverage here. Wich his left hand, Rovier grabs Oonid's right triceps and uses his left foot to hook over and trap David's right foot, Now Rayler has Davies entire right side blocked and is ready to.go for the upa, (Note that a ‘wily opponent will sense this and try to free his hand: belore you get this ar. if he is able to. you Imust switch ta the escape shown in position 31.5 4 Detail A 4 Detail B Notice that Rayler only trags Notice that David's right faor, not both feet In this cave Royler Adlditionaliy, Royler keeps his uses the "lay right heel tight against David's ‘nlp, with all five ankle to provent Bavid {ror slip- fingers hoaking on ping his eft leg in and grapevining the same side, Royler’s right foot to defend the up. this hips and bridges as high as post: ble. Once he reaches a hiah point. Royier pushes ‘off his tat eg and turns David over his left shou der. It is extremely important not to try to turn to the side, but rather aver the shoulder, To make the rail even more effective, Royler turns his head to the ight ane looks up, further clearing the path of the ‘oll the opponent fells your upi attempt by brac- {ng against the roll, you immediately switch to the in position 32:) Rayler encls up inside David's closed ‘guard, Royler’s hanes block Davies biceps, preventing David from going for any type of consol or choke. —103—In the previous technique, Royler demonstrated the standard upa, with — grappling, italso turns up alot in street fighting, the opponent leaning forward with his arms out with the attacker getting ready to rain down far base. Here, the opponent is sitting back on punches. Whatever the scenario, the following Royler’s hips, looking for an opening to attack. defense works great. > David ie mounted on Fe hoyter and is sitting back on his hips. Royler closes his eltove tight against his bacty and raises “4 his hips, bridging and pushing David forward, David has-to brace his arms against the mat Fit his hip stil up, Royler braces Jelt.arm and hand on David's ‘ight hip and cicles his right arm around David's left arm. (Mote that & ly apponent 1a free his hand before you get this far If he is. abie to, you must swatch to the escape shown in position 31) I sense this and tryRoyler lowers his hipssfightty, but hie stiff left arm keeps Davie's hip. aeray fram him, Rayler traps David's fe foot vith his own right one, block- Pushing off his left lea, Royle begins to bridge over his “Saat shoulder to his right, making sure te keep his lett arm against David's hip for distance, prewing. 5 Reverse Angle con early see Royle’ arm on Bavidl's right hip, pushing hire away. The left arm does twa Dovid over, but mare impartant, it keeps David from thrusting his hips forward an Rayler sand taking away te power of the bridge. 9 it hebos pu By Rover ence up inside 27 davids closed guard, Roylers hands lock David's biceps, preventing David from going for any type of control or chake.A smart opponent knows that once if you have tight control over the arm, your one of his arms is wrapped while he is opponent will have to yank his arm really hard founted on a foe, the upa is on the way, a and lean back to complete his release. Royler move he will naturally try to prevent hy pulling takes advantage of that in this little-known his arm out as soon as it is wrapped. Of course, escape. Jp) David is mounted on Reyler. He ise tonal has hie armeon jor af Royle d for bace, David alo has hic hhips low and tight er begins the escape the nor imal vay, raping Davis Heft arm with his right one and trapping David's Jeft foot wth his right foot. 1f Davie doesn't react, Royler wl escape shawn use the upa Sensing the control and imminent scape, David quickly site back and yanks his left arm ous.Royler bridges as high as be can, forcing David forward, David reacts by sitting back farther, Royler quickly drops his hips down and sis up, ‘twisting his body to his right as David drens back down, Royler continues his twining mation. He sur aps his left arm araund Davids loft leg, trapping it, wishes off his left foot, and serings his own rlahe foot back through, semeeping David Royler lands inside Daviers quare vwitiv his hends on David's biceps. Notice Royter’s pesition: he has shifted 90 degrees [rom the start. Ibis impera te that he sweeps perpendicular to David. He can't try to simply roll forward over David, because David's legs and feet will stop him. 1BAs erfective as the upa is, it can sti be blocked by an opponent who is able to free his right foot and brace against the roll. in such a case, you use the elbow escape. When used inveonjunetion, the upa and elhovs escape became a formidable response to being mounted. if the ‘opponent defends ane mave, the other will auto- matically be available. IF the opponent is quick enough to defend the second optton, yau imme: diately go back to the first. This kind of exchange and variation is the key to suxeess in submisslon arappling, NGD pavidis mounted on foyler. Royler has trapped David's right arm and foot and is ready for the Wg A Fovler beoins to bridge, David slips his right feat out of the trap and opens his leg wide, blocking the roll, Royler quickly diops his hips dawn, turning to his lefeand curling his left leg in. He brings his elbow and knee together. prevent ing David's leg from coming back Into the mount, and slips his lefz knee just insicle David's righ — 114Royler slides his hips to his: Fete and wraps his left leg around David's right lea. Royler continues to sip his hips fo the left ara slices his ig knee just inside David's tot 5 Reverse Angle | Note how Raylers right legis cured, His right elbow is blocking Davies lat knee, openi for Roylers right knoe to side in the wi Rosler slides his hips back to his right as he citeles his right leg around Davies left, plac him in the closed guard,Hore is an escape from the mounted position with a twist. as Royler does an elbow escape, the opponent raises his body slightly to maintain position: this isenough space for Royler to go for a foot lock. David is mounted an Royler, Royler han proper posture, his elbows “= lose te his body to keep David from *ellmbiag® up te his ae Royler begins his escape with an upa £7’ but David slips his right leg out and ‘opens it yside for balance. Royler slides his hips to his right, uses hs left elbow on David's extended leg to block it, andl stides this lett krvee up inside David's right leg, ‘As Royler beg ins to move his hips to the leit 30 continue the eltiow escape, David shifts his vecight slightly, alsing his torso as he tries ta maintain the ‘mounted pasition, That gives Royler the space he needs to go fora (oat lack, He pushes David's chest Up with both hands, simultaneously planting his Fight foot on the mat. With his left leg. he lifts David up a little mare and pulls David tovrard his head as well. This gives Rayler enough space to /oap his right lag under and around Davies left leq, until hi fight foot pushes on David's left ribcage.3 Reverse Angle In this wee, we can see how Royler ‘uses both hans ta push Davie away zs he loops his ight leg until the foot is against Davie's ribcage. Royler uses back, clases his right knee to:trap. David's left leg, and veraps his right arm ‘around David's ankle, By lacking his right hand arauriel his tee wurst evith ii hand on top of David's shin, he traps Davies teat for the foot lock, Royler applies pressure by pushing sith his right leg and arching his torso ace, bending David's left foot back fer the foat fack 4 Reverse Angle This reverse angle clearly shows Royler’s right foo: position on Davies right rb, Notice how Rayler closes his right knee 10 Wap Davids leg, aSo far we have not covered thesitu- his hands dawn in a choking motion. This is ation where an opponent is choking enough for the person being chaked to feel you with both hands while mounted on you. pressure and many times panic, giving up an arm Most submission grappling events do not allawe or the back in a hasty attempt to escape, Here Is the opponent to squeeze your neck by pressing the proper way to escape this situation, his fingers into it, but they do allow him to push Davis mi both hands on his throat red! on Royle id ls pushing forwrand for a choke the Royer’ first step isto rel pressure on his neck, He hooks both hands inside David's wrists and pulls them outward and down as he borings his elbows closa to hit body, with control of bath varists, Royler chooses a side for his escape, You want to go to the same side as the foot that you trap In this case, Royer ‘yaps Davies right foot, so ha bridges aver his ‘own left shoulcer.wide Davids close guard, Royler Still maintains control of Dawiet’s wists Royle roles his torso as he pries Davio's hands from his eck and retains control over David's wrists. From there, Roylet wll pasture and get ready to pass the guard,A variation of the mounted choke— ble pressure on your neck and create instant this one entirely legal—is for the person maunted on you to use his forearm on your throat. The apponent will eup his hand on your shoulder, put his forearm on your throat, and drive his elbow to the ground for the choke. As ‘with the prior situation, thiscan apply a formida. Royler’s fist concern is to release the ehok: Ing pressure. Reyler grabs David's right ti eps with his left hand and claves David's right cloow with his right hand. Royler brings his own right elbows down toward the mat, em his body, putling Davies right elbow with his right hand. At the same time, he uses his lef hand to help push Davia's arm in that airec- tion, releasing the choking pressure. Royler ‘raps David's right foot with his left fost and new has Davie's right side blocked, Panic. it is important to master these upa varia- tions, as each resolves a different and crucial sit- uation. Note that all these escapes from the mounted position are dual-purpose techniques: they con be used as a series ol good attacks when you are the one on top. Fy Davia is mounted on Royler, witht his right forearm in front of Royler’s chest. He eups bis Inst hand an the back of Royler's right shoulder and presses his right elbow nd as he uses his soward the or forearm to choke Rovlet.Royler bridges, pushing aff both feet as fre rolls over his left shoueler. Royler lands inside Davis's closed guard, ‘on David's biceps to control Davids arms. 121Many times, an opponent mounted ‘on you will wrap his arm around your neck to control your head. By diminishing your ability to move your head, he achieves great ¢on- trol over you. Obviously, the best defense against this move is ta have good posture and Keep your head flat on the mat atall times. However, during the course of a submission grappling match and Since David's right arm is uncer Royler’s head, Royler knows that ‘he best option is the upa. He traps Davies Fight foot with hvs jefe Foot ‘and grabs David's righ bikes with his left hand, lacking it in place. Royler also places his right hand on Davie’ left ribcage ane! wll use It ‘for more leverage in step 3 ‘among the millisecond decisions and hundreds of reactions that you have to take, many times you ‘ill It your head and give the opponenta shot at it. As a matter of fact, tightening the neck and curing up the head is anatural defensive reaction, land a common mistake that submission grapplers make. Here, Royler demonstrate a quick and effective way to escape using the upa. David is mounted on Royler and has his right arm wrapped around Roylers head, controlling it. Notice haw close. David is 10 Royler, making it very t for Royler to move and nd any space for an ekcape. zineDp, Since David is using his riaht arm to con- rol Rovler’s head, he kesps hishead on the opposite side. This is 2 clue as to whieh side you should escape to, Royler bridges up and roils over his left shoulder, pushing with his right hand 9s well 3 Reverse Angle ‘This view shows Royler's ight hand pushing agolnst David's hips to help push David aver and keep him fron delving his hips forward, which wou! take aviay the powe’ of Royler's bridge. Royler lands Inside 7 David's closed quardy vith bosh hands en David's biceps, wmquard passes are particularly important to master because many times you will be fighting larger ‘opponents, You wor't be able to stand up and lift ‘them, or even if you can stand up, they will be con- stantly forcing you off balance and back down, While there are a multitude of tricks to passing the quard, we are only going to touch oh the most important ones, but examine the pictures dosely and get further tips and details from them It is a fact of fife that you will spend mest of your time in submission grap- pling either passing oF defending the guard, 50 ‘you must master at least a few of those techniques if you are to have any measure of success in the sport, As was pointed out in the introduction, one of the most important factors in passing the guard is to maintain clase contact with your opponent (except for same standing guard passes). Kneeling Royler bs inside Davi! closed guard. David has his hands on Royler's wists and may lve pulling the veists out to force Royier off balance. ‘The fit thing Royler mat do-it to much on his hands for balance to keep: from falling forward. He docs that by keeping his back straight and head up, vd proper posture and not rely tao Once he firms his base, Royle twists his body back to his left, creating space between Davie's legs. Notice that Royter's Nips are: still low, keeping his weight back so that he doesn” lose his balance forward. Royler’s step is out and nat forward, to Keep David from grabbing his foot. Royler moves his buttocks back, lowers his torso, and 1 traces his right elbow inside David's jens in the space cre: ated when he stepped out. Royler puts his welght on his ‘earen, pushing the elbow down to prevent David fram pulling it back in and catehing Royler in @ triangle. At the same time, Rayler slips his left arm around David's right lea, hooking Davis's thigh with his hand. (Nate that if your oppo: nent anticipates your move ané manages to scoot his hips I need to switeh to the pass in position 38) vray. yO. ZePy Pushing off his left leg, Rayler drives his Jefe arm and shoulier forseard as he resches to grab behind David's head with his lefzhand. Rayer keeps control of David's ‘ight leg between his head and left arm and forces Davies right knee towre his forehead. ‘At the same sime, Reyer pulls hisselt tor- th the help of his let hand, which is ‘fabbing behind Davis head. Natice the angle at which Rayler pushes on David ke ward rather than parallel to the mat, which would just act like a plows ta push David back, Royer pushes fervard and up, deflecting any paver that David can have and forcing his leg dawn, This isa very uncomfortable position for David and be vill try to release the leq hinse't yielding the guard pass. Not that Royler deives is shoulder into the back of David's right knee, pushing it toverd avid’ head, Royer also keeps his torso and hip love to David's leg for tightness, Royler continues to move wound my David's leg and reaches across the S| side, Netiee that Royler still hokds David's head with fis te arm and has his tight arm controlling Davis right leg to prevent him from sliging It im and pubing halfsguord, Once across-side, Reyler chooses {0 put his left elbow next to David's head, close to the loft eat, to prevent David from moving his head. Roylers right hand is firmly planted on the mat next to David's ‘ight hip, preventing him fiom replacing the quard or hall-quard. 125In the previous positian, Royler was inside David's closed guard and passed using the krigeling guard pass. This time, haw- ever, as Royler begins his pass and places his left hand inside to control David's leg, David reacts making it very difficult for Royler to raise Davic's eg. Royler needs to get David close before he can pass the guard, so he adjusts the technique ‘to pull David in by the thigh, and then proceeds to pass. by scooting his hips away, creating distance and Sem, Royler starts in Davic’s closed guard. At betore, TD ire tint gets proper pasture and assures that he is in base, then starts to pass, Royler swings his torso to is leit, takes a step out vith his left fag, litt his let lence, and twists his body back to hit left, creating space betveven David's legs. Notice that Royler’s hips ‘re still ow, keeping hit weight back so he doesn't love his balance forward : Ahoyler moves his buttocks back lowers is torso, and braces hs right elbow inside Davids legs FRoyler puts his weight-on his forearm. pushing the elbow down, the same tine, he sign islet arm around David's right lag to execute the kneeling guard pass. This time, homever, David reacts, scooting his body back and making his leg very heavy as he takes aay the leverage that Royler needs to lift and pass Royler must adjust and bring David close again. He grabs his left vist with his right hand, making sure he has the top blade of his leit forearm pressing against David's thigh, and lowers his buttocks until hhe is almost sitting on his right heel, 125 —3 Detail Notice the proper way to make the frame. Royler hold the top of his forezrm, with the blade digging into David's thigh. His right hand grabs his left wrist, circling the thigh tightly. Royler’ left shoulder is just under David's calf, close to the back of the knee, creating more leverage when he pulls the grip tight. Pushing off his left leg, Royler rises up as he lifts Davids hips and gets his cern hips ard body clove to David, He ullshis left arm to his chest and chives his shoulder into David's thigh, pushing it toveard the head, The pressure of the lat forearm blade against David's thigh wil cause a great deat af ehscomtore for David. Notiee that Royler does net pall David to-him, as that woukf be cifficutt against heavy ‘opponents, but rather Hfts Davis's hips and ames forward to meet them with his bod. Royler cinches the hold and walks +) around Davie's lag, Notice that Royler utes his shoulder to push David's right knew toward his head Royle also keeps his torso and hip ose 29 David’ leg for tightness. Royler continues to move around Daves leg and reaches across-side. Notice that Royler 3 holds David's head with his left arm, hile his right arm controls David's right leg to prevent him from slid. Ing it in and pulling half-guard. reAtsome point, you will find yourself ina submission grappting match against an opponent who has a very active closed guard and constantly ages for submissions and sweeps. That makes it hard te use the kneeling quard passes, as you have to have perfect posture before you should begin that pass. in such a case, the standing quard pass is a better choice; by standing up you avoid a host of closed guard attacks, It would thus seem that the standing uard pass would alvways be the best option, but ayler is inside Davi’ closed guard. David has beon very ‘active In breaking deven opler's posture and bal ance, Royler needs to poss and lecices 70 use the standing guard pass. Rayler srsings his hoody to his right and dives the same thing valth his tas leg. Notice hows low Royler keeps his body and buttocks. Tis 's very important far bale ance, He also keeps his knges dlose 10 his body, locking avid thighs and taking away his ability tO move his hips and create a mere dangerous situation for Royler that is not the case. The pass also has its problems with base and stance against a player with good sweeps. Some people prefer the standing guard passes, while others are more comfot table with the kneeling passes. It is very important for you to master both and mix them into your game as ‘heeded. That being said, the standing guard pass presented here is among the safer ways te @pen ‘and pass the guard, Use this when you are behind in the score and absolutely need to pass the guard before time runs out, Royier does a pondu tum, swvinging bis upper boy %0 one sido, then ‘sosingeit to opens and raises his ht leg and plants his ight foot on the mat ‘Once he ls sare oF his balance, Royier extends his legs, fting David's fags veth him, ‘Again, natice how Royler keeps Wis hips forward and knees dosed and slightly bent. Maving them bent allows him reac quickly, adjusting upand doven if David tries to push up or dawn ‘with his legs to sweep Royler Having his knees loved prevents David from swinging his hips sidewvays for seeps as well, Royler thrusts his hips forerard so that, if David opens a leg. Royler can pass the guard by simply eriving his knee for ‘yard and sueinging his bacy around the lea. = 18Once he feels sure of his base, Rayler takes ‘a small step back with his left leg as he lowe rs his hips and inserts his ight elbow between David's legs, with his forearm gushing against Davie's left thigh. He alto inserts his left hand in the space and veraps it around David's right thigh, grabbing David's right hip. 5 Detail notice tne proger way for Roylet £0.grab the thigh, Mls right elbow is inside David's legs to avoid the triangle, with his right hand grabbing the top of Dewid's thigh. His left arm is wrapped around: Davids thigh, with the hand grabbing the hip. This helps contro! and direct the thigh as Royler drives his left elbow up and shoul: der forward and around the thigh for the pass. Rooyler dvives his left kn David's hip and in the direction af Davicrs chest, as he pivots off nis tet foot, swinging his hips to his loft and driving his left shoulier forward and sround, deflecting David's thigh as he comes around the leg. Rayler reaches wide wish his left-arm in front of David's left ear, his left hip touching the ground and right hand ‘controling Davies right thigh as he lancls axross-site, Dy Royler establishes acrossside position, weith his lefs elnoy tight on the side of David's leit ear and his right hand on the mat next to Davids right hip,The butterfly is a common and effective guard in. submission grap- pling. With the heoks inside, your apponent not only protects his feet from possible foot locks, but also has many options for sweeps and arm drags to take your back. Ideally, the butterfly guard is performed sitting up, sith your opge: nent pushing his head against yaur chest. Often puts his chest on top of David's upper leg, a match, however, your opponent will find self with his hooks placed inside, but his back on the mat. This may occur as he is just lacing the hooks or in a transition between moves, Regardless, as sonn as it happens, dan‘t wait for him to sit up; recognize the situation and use the follavring great quard pass, Dy Royer finds hionsef inside Davies P butterfly guard; however, David has his back-on the mat. Royler quickly recog izes the opportunity and goos for the butter taking away some of the & David's hooks, and places his hands on top of David's knees. choses his knees, iy guard pass. H fectivencss of 1B0—y ight arm, grabbing bel neck, Notice that Rayler still prestes his chest an Davies also holding Davie's right shin wveth his left hand. This keeps David from being able to extend his logs and make adjustments like scooting his hips.aveay to replace the guard NED Roster “walis" around until he reaches across side, Notice how Royler ‘emains tight 09 David and still holds on to Oavie's neck and legs. a=‘This ig the more common way of sweep Royler his hooks or go for a variety ‘of submissions. Royler demonstrates his favorite wai of passing the sitting guard. The key to this technique is to spin the opponent of his but- tocks, then push him back to the ground. applying the buttertly guard. The ‘appenent has both haoks inside your legs and is sitting up to one side, with one of his arms between your bady and arm. This is also known ‘as the “sitting guard.” From here, David can over is inside David's sitting ‘quatd, David has bath hooks Inside Royler’s legs, his left hand is between Royler’s right arm and bborty, and his right arm is back to help him move his hips to either side. Roylet, for his part, has his weight back and his left hand @r the sweep, the ground to bra arr inside Royler’s right ong, Royler viraps his fight an around Davids neck and, vith his left one, reacnes behind David's right leg and grabs the [eft ame, cominating both legs vith one arm. (Nate that if Davie had both arms inside Reyier’, Royler would use the pass demonatyated in pesition 42.) Paiste2 Detail this ctesrly snows Royler's grip on David's left leg. Motice that Roser reethes 2lithe way around ‘ne gabe the autelde of the snide, with his thumb pointing up. This way he-can fully control the leg, palling the legs together and keeping David from extending the leg and maintaining the hook Royler spins David araund oF his bute tocks by pulling his legs and head ina clockwise direction (to Davies lefth. The direction of the spin is determined! ‘oy whieh arm is inside. Royle brings David to his side, with his FS1 common variatien on the sitting guard shown in position 41 is for the defender to sit straight up, both arms inside the nasser’s arms and his head buried on the passer’s chest. In this position, since he is cantralling the canter of the action, the defender can do a vari ety of things: he can go for the side sweep by le ting go of one hand, he-¢an roll back and lit fi opponent off the mat with both hooks (because hhe has contral over the attacker's torso as well), he can qoto the back, and so on. Rayler shows a great technique 10 escape this hold and even ends with 9 submission. sitting has both arms Royler slips his right arm around guard with hooks. Ds Wrapped around Royler's chest ar head is buried there, Royle’ places bot hands on David's shoulders and back to create David's head between the head ‘and left arm. At the same time, Royler pushes David's right knee Inv vith his loft hand 2 Detail this reverse angle shoves exactly where Royler's h around the nid ad, between the head and the arm, and between the legs. By doing this, Royler not enly contral the head but also can reach the right cat. foyer reaches around with Wis right ay and until he gia tne outside of Sa ovis right call, Royle uied his left hand to push Davies right knee to his ight 30 fhe can reach it eh his ight hand —138—Royfer locks his lelt hand behind David's triceps, 5 Detail Notice hav Royler controls Dawidl's body as he pivats him around his buttocks. David's pasition is very uncomfortabie, with hes hand around om his buttocks by standing up and pulling om the right leg and arm. wing forced down by Royler’s aren ‘As he continues the spin, Royler slips his right. F knee on Davie's chest for a knee-anstomnach, At this point Royler has already trapped Davi’ right wath his left armpit as he wraps it with his left ‘arm and prepares to go for the submissian, Royler lets go af David's right leg and. clases the lock around David's aem with: his left hand, grabbing his own ‘wrist and applying pressure to-the elbow Joint by thrusting his hips forvea 135 —While very common in sport jiu- jitsu, the open guard is less effective submission grappling because, without the gi to control his arms, the attacker is free to contre! your legs as he pleases, Despite that, you will ‘encounter open guards quite frequently in sub- mmission grappling, because so many grapplers come from jiu-jitsu: backgrounds and are accus- tomed to using the position. Therefore, you need to know how te deal with it propel Here, Royler demonstrates a nice, quick way to pass the open guard, The key to this pass isto } Roylor nas control of Dayid’s legs in the open Royler grabs both ankles and throws them to uate his left aca ruse, making David react ta block his ‘own left side. throw the opponent's legs out of the way and quickly step in with your knee. Quickness and cunning are very important for success, so You may want to feign throwing the legs to one side, then quickly reverse and pass to the other, ‘a Royler does here. (In an actual match, you ‘would skip step 3-ar4,} Practice the footwork in ‘this drill several times on your own or with a ‘willing partner, so that when the opportunity occurs you ean take advantage of it. We start this position trom the point where Royler has control of both legs. Royley then feints back to hic right and has Davie blocking that side. —136—Royler puts his left hanc ‘on Davicls shoulgier ancl his right one on the grour Io front of David's hips a=W Finally, Royler steps in, with his sight knee on David's ribs. Royler drops doven acrosyside, chest to chest, Notice that this time Ragler bs ferent arms pesition than previous examples, He has his left arm ‘around Davic's head, controlling it, his right elbow close to David's lets hip, and his right knee on the ground clove to avio's right hip, blecking any movement. Thi is an optional position for the across- siges. They all work equally well: find one that you have the most comfort with,For those who do not li guard standing up, 2 great option is toa lot of advantages: tis a veny stable and! strong topossthe — thraugh and pass down and tight, This presents open the guard the traditional standing way way to pass the guard thal gives you aptions to ‘and, once the opponent opens, shoot one knee pass te either side, WD oper sinsato David's coved guard J Royler extends his legs, IMting Davie's legs ‘and hips off the mat Boyle swings his body ois right and eepeats the maton, iting hi let foot torto te his lott 2 plants his rig and keeping Ws knees close 10 hit body and his elbows tight 0 block Davids lege and hips, Royler takes 2 ? step back with his lett tea, places his right knee just behind Bavid’s bute tocks, and drops down to the ground, That forces his knee in between Davies Jegs anw opens Ue guard. Notice ayler’s posture: head up and straight with nis torso, chest com nected to his right thigh. A knowledgeable defender may block the knee srith both hands to prevent the guard pass, if this hap- pens, switch to the attack demonstrated in position 45. —138—Royler shoots his right knee over David's left thigh until & touches the ground, making sure he keeps his tors on the graund hooking Davids left thigty otherwise Davie can close his lng in the half-guard. Simultenecusly, Reyler grabs Davie ‘with his left arm unger David's right ane anc his left hand around David's head as he Jocks his hands. At this point, it very important for Reyler te be controlling Davids torso very tightly tw keep David from moving his body and hips to repiace the guard, 6 Detail notice Raylers Fight toes stil on the grauW so his foot hooks David’ loft thigh ftoyler loons his lat lea ‘aver and! deops his hips to the aroun sill maintaining the right hook over Davids left thigh and the fn aria around Davie's nack and aren. 7 Detail Note that Royier doesn't release the hook ‘on Garvid’s Unigh ase Uv Nis He is ‘over and around, He were to release the eg, Davie could escape his hips to his right anc slide his lett knee in to replace the guard. Royler comes completely acrastaide for the pass 135 —When faced with the potent stand- the black. The mechanics of the pass are very ing quard pass demonstrated in posi- similar: tightness and sliding your arm inside tion 44, samy opponents will defend it by using your opponents arm are the keys. We pick UP thelr hands to block the knee fram coming in. the technique with Royler already having ‘Once that happens, agreat response istosimply opened David's quard using the techniques slice your knee to the opposite side, deflecting shown previously. oyler takes a step back with his left leg, place right knee just behind Davis's buttorks, and! drops down to the ground, That forces hit knee in between David's legs and opens the guard. Oavid defends the knew shoot VD) eoyter exconds his by using both hands to block it, Royler simply deflects his tage, lifting Davi’ legs knee entry to his left instead, and hips off the mat Royler's knees are together fang his hips are forward Still being blocked by avid, Royler leans for vars! anes sips his right arr Inside Davie's left arm, under the armpit,Fogg, Fevler plants bath hands on 9D toe mat for balance, matings sure is right aim emis tight ‘on Davids arma, and shoots his fight knee over David's right thigh until touRhes the aroun By Keoping his taes heoked aver Davids right thigh, Royler ‘ensures that David can Eero ie lege in a at guard Rayler grabs David's head and farm, waapping his left aren <2 around David's neck and Hoeking hanels. Notice how tight Reyer’ chest and head are on David. As ayler continues ta press his body forward, he keeps thrusting hi hips forveard and driving his knee. forcing David to release the | block, leaving Roylers left leg free. » Royler slides his knee 7 «iwough, putting Ws ght hip on the ground, his Pht leg forward vith the ‘hight under Davids right ‘arm, and his left to back to compleze the guard pass, From here, Royler can ge to any of the acrossside posi- sions he chooses, 14 —Many times when you are passing ‘the quard standing, your opponent, on the defensive and attempting a quick reversal, will open his lags and try 2 double-ankle leo sweep. The opponent opens his legs, kovers his hips ta the graund, grabs both your ankles, and drives his legs forward and down, taking you down, In the standing guard pass technique position 39) Royler addressed this, showing that you need to have your knoes bent and be ready to “ride” the sweep by follawing the opponent's push up and down, Having bent knees allows you to react quickly as your opponent tries to ker, David is proactive, fe opens his legs, drops his hips te the mat, grabs Roylers ankles, ‘and goes far a double-ankle leg sweep, sweep you by pushing up or down with his legs. Sometimes, however, you vill be slightly late and ‘will begin to fall fram the sweep, as in this pos tion, All is not lost, though: as you are going down, you have a shot at a foot lock, You may ako try this while riding the motion of the ‘Sweep. Once again, anticipation of the maves ‘and their results i vital, because you need to position your arms and knees just right, H you are not mentally prepared for the possibilities, you ‘will be too late. (If you react quickly enough, you cap also fall forward and go for the foot lock showin in position 47) > Royler stands inside David's id and gets ready toopen and attempt to pass —Ww2—Boga * Rover is being Bo) corept, he sides his right knee around David's left leg, placing i betwen Davids Ings, wile losing hic left armpit around David's rignt ankle AD iss Rorler teaches the ma grabs his right wrist is Ie top of David's shin, He loops his I he waaps his left arm around David's leg and nd, locking the grip-with his right hand on Neg and paces his late foot-on David's right hip. leaning back to push David back. By arching his back and thrusting his hips forviate, he bends David's right foot at the ankle for the foot lock. Notice that Rovler's right knee ic closes and between David's legs, which helps keep David from coming up and taking the prescure of the foot lock, 13 —Submission grappling is a game auhere the person with the most options and foresight usually wins, This position isa.goad ‘example of the strategies and counterstrategies that often decide a match. As in position 46, Royler is passing the quard standing and David goes for a double-ankle leq sweep. This time, however, Rayler clefends it quickly by closing is lenees, preventing David's legs from sliding down, which keeps his hips from reaching the mat, Davi) counters by wrapping his left arm Inside Royler’s right leg to sweep Royler back. Royler defends the sweep by falling forward and immediately goes for a foot lock, This is a devas: tating foot lock, as the opponent gets trapped underneath with no real means of escape. additionally, Royler can twist David's leg ta his left and add a twisting knee lock to it. Royler ‘employed a variation of this technique to win his first submission arappling title in the 1999 ADCC finals against “Soca” Carneiro. Royler stamds up inside David's D dosed guard. Sensing that his ‘guard is about to be opened, David goes for the double. grabbing bath af Roylers legs. cle leg sweep, Ropler closes his knees, loek- ing Davids legs in place and prevent ing hic hips tram touching the mat 2 Detail In this detail we can learly see Royler losing fs kees, forcing David's knees together and flocking the legs in place. aDavid left arm inside and areund Royler’s right leg to sweep Royler back. Rogler eens his knees closed and leans forward (rather than falling back} to defend the sweea, until his left hand reaches the mat, Royler walks foresard on his hands, Ing David over. Royler makes sure his knees lock David's. Notice the posit Davies left foat near Royler’s armpit Fig) Vth Devic on his etomach, Rayer braces his $27 beet hand and knee on the mat, lacks his right arm around David's leit ankle, ond sits on tap of David, ic right knee slightly off the mat, Royle’ stand his torso upright, lacks David's left ankle as he grabs his eon left wrist with his right hand, and grabs Dawiels leg with ths left hand. Ropter raises his right leg, placing his thigh just Unsler Davicts calf, and arches hits right ‘shoulder and back for the ankle lock. — 15 —‘This technique is a good example of how to turn a defensive action inte ae attack. In this situation, David is inside Royler’s closed guard and goes for the foot lock. Royler defends it by grabbing behind David's head. As David continues to struggle to secure the submis- sion, Royler adjusts his body and limbs on top for the sweep and the mount. The keys to this tech- nique: are (1) to make sure you defend the foot Jack, (2) to have a solid grip behind the head, and (2) to shoot your leg through your opponent's hold to relieve any pressure an your foot Royler has David inside his closed rd, David has managed tostand up 2 he is. about to have his quard opened, Royles unlocks his feet, David starts to insell for the foot lock, much as Reyler in technique 46, sensing grabbing behind Da hand, yi theusting his eight leg his ankle is well past Davies left armpit. Royer contrels David's left ankle with his right hand, preventing David fram defencing the foot lock by placing his left foot on Rover’ right rib, vihich would keep Royler from coming forviard. Notice that David falling te the mat actually pul’s Royler on top of hin, 146 —‘David falls beck, fighting to get the submis: sion a5 Reyler continues his defense, Royler's Ind Still secures the back of David's neck and his right hand contvols David's left ankle. Royler climbs over David's (eft ankle an sits on that log, preventing David from blocking Roylers escape route, Still in control of Davie’ neck, Royler continues to scoot his but ‘locks foward David, making sute he is 0n top of David’ lett leg, and slices, his lett knee aver Davies righ GD Peshins off his lelt foot and right hand, Royler FEED sts his hos forward and reverses the postion. Notice that Roylér con't move directly over the top of David, as his leg i trapped, but rather pivots off the side, over iis ight leg. The movernent is almost ce circling around the kne Royler ends up in the moumted posi —147—In cases where your opponent has a servative with the use of his legs to defend the very good open guard with great leg- pass, as he now has to worry about the knee lack work, and is preventing you from passing, you as well. Here, Royler prepares for the regular fat can sometimes achieve good success by going lock shown in position 46, but David is too far straight for a submission. The submission attempt from him for perfect execution. That space has two objectives: if successful, of course, itends between Rayler and David, however, is a perfect ‘the match, but even if it is not successful, it can highway to a knee lock. intimidate your apponent, making him more con- Royer attempts 0 pass David's open guard. Rayler alveays likes to have one knet between his opponent’ lens for various rea: sons: blocking the thigh, setting up a possible oot lack, ar just preventing the opponent rom closing the guard again, Aoyler traps David's let ankle ¢ between his armpit, lbs nd! thigh, preening for the toot lock, His let knee pushes fe + Davies right lea, 2 Detail Notice how Royler traps Davids « this arm and thigh by bringing his right elbow knee in. dase to his borly and closing his righ ‘This setup is used far both the foot and knee fock, allowing you to disguise yo!Instead of going for the foot Jock, Royler opts for a knee lock. ‘As he turns his bad to his right, he: shoots his left knee through David's legs to the mai, sliding it over the hip. Royler pivots on his knee as it touches the mat, maintaining a firm hold on avid tea. 3 Reverse Angle This perspective shows Roylor sliding his feft knee the gap une it touches the mat. He tes this knee as his pivot point. Royle figure-ours his les around Davies thigh, locking his right foot der his left knee, and arches back, taking David's ankle with him as he rashes his hips forward, applying pressure 10 Une knee —1469 —‘This is another great attack from the ‘pen guard. Royler has defended David's double-ankle sweep attempt and begins to pass the guard, but decides to surprise David and go for the immediate submission, applying the heel hook. Although the lock is called "heel hook." the pressure is actually a rotation on the knee, causing tremendous potential damage and tearing of the Joint. For that reason be EXTREMELY careful when Using this in training or practicing with a friend. ‘This submission does net have gradual degrees of pain like most other joint locks; by the time the ponent feels pain, most likely some damage has occurred. SE royiter sta with David Halding both his ankles Fag (With is lefthane, Royer pushes David's right FD ‘neo out and places his own lett knee in to pre: pare f 1d pass, Simultaneously, he pivots ff his right foot and pushes his right knee in just around David's left thigh Rayler wraps his ight arm with ¢ elbows around Davis le ankle at he slides his lof hand and grabs David right ankle. Reyler then falls back to the matRoylee loops his right leg over David's leg and locks his heel on. David's left hin, keeping Davie rolling to his ight to escape the heel hook. Rayler makes sure his thigh is behind Davicts left knee. Notice Royler’s right elbow locked around: David's left ankle and his left holding David's right ankle, te pre: vent David from placing that foot on the ground or sitting forward. Royle cups his right fist ith his loft hand ance torques David's left heel for the hee! hook 5 Detail Note the proper way ta foek in the ankle: elbow wrapped around the nile, let hand cupping the righ ‘and left farearm pushing doern on the le. —1s1—As in the previous two positions, you are attempting to pass the guard and may be having difficulty doing so. But in this situ ation, you are behind in points and time is run- ning out, Consider a toehold. The toeholdis a very quick submission when property applied. The trick is to surprise the appanent and apply the torque vigorously from the start, as it can be defended with relative ease, In addition, you'll find that some fighters have such flexible feet and, ankles ‘that they are basically immune ta this attack. And don't forget that, as previously stated, submissions always come with risk; any attacking motion you Use gives the opponent an apening. in this caso, David successfully defends, he will have top posi- tion on Royle Royler starts as If Ne is pas ‘guard normally his lett hand pushing “= Davids right knee down as he inserts his left knee to pass, and his right hand grap. bing the outside of Davis left faot —152— @ open guard, vile pressing is left knee on Davies right thigh to prevent hie from coming up,3 Detail Hotice the grip on Davids foot. Royler’s hand {grabs the outskle blade of the foot toward the fron, but net over the toes. Although arab- toes would give you more lever- might also cause the grip to slip. Royler pivots much lke he did = forthe knee bar in postion 49, his left knee siding over Davies ett ip, with his foot hooking Davids Jeg 2s he falls to the mat. Royler clases the figure- og four leck around David's Jett thigh, his right foot hook: ing under his awn left knee. He comaletes the lock by rabing his ovin right waist swith his left arm as it circkes David's left ankle. He applies the pressure ta the outside of David's font, torquing It to his. Fight for the submission. =13—Never underestimate the element of diately defends the foot lock by turning his foot surprise, In this situation, Royler is inand.counters with a toehold of his own. This is attempting to pass David's quard and is surprised such an unexpected and unconventional counter by a foatlock attempt from David. Roylerimme- that it has a high degree of success. Royler attempts to pass David's guard, ard David attacks his right foot with a foot tock Royler immediately spins his body to the right, By turning his toes in, he takes away the angle for Davies foot lock. Simultaneously, Royle arabs David's left foot, with his right hand reaching over David's right leg while his left hand reaches unde This wll lock Bavidls lag, —158—Royler sets the toehold, his tight hand ‘grabbing the outside of Davids foot and his left hand locking over his oven right wrist, Notize that Royler’ left arm, by wrap: ping around David's left leg and between Royler’s ovn legs, taps David's leg as well 3 Deta Examine Royler’s grip. His teft caren oven legs and around David's Jef: calf, His left hand is locked on bis fight wrist, bile his right hand grabs: the outside blade af Davids left foot wrapped between his Royler rolls forseard ower his left shoulder and applies the Loe-hold pressure by torquing David's foot award the matIn submission grappling, having someone on your back is perhaps the worst pasiticn to find yourself in. The ability to escape this situation is immensely important you should nat anly learn it, but master it by repeating it with a willing partner and then pur- posely placing yourself in this situation during training with better and better partners. Remember the three keys to escaging fram the back. First and faremost, remain calm, Second, {YD bani ison Raytor’s back, with many options af attack, Royler’s fiest concern is ta remain calm. sicape wit ne right, over the Lop of David's right knee. The hip movemer Is very important to keea your weight on yaur hips to pin your opponent's leg down, othervvise the can just swing you back to the center. defend your neck vith proper arm position Third, recognize the correct side for the escape, and slide your hips to that side while keeping your weight on the opponent's leg ta keep him from bringing you back to the center The attacker's choking fingers always paint in the direction of your escape—you always escape awvay from the choking elbow, Here, David uses his left arm to cheke, so Royler needs to estape to his righ fee (DZ) bani starts to side his left arm for a chake, Royer wraps his right arm around his head and uses his left hand ie protect the gap on the Flat skie of lis neck, preventing David from sliging his right hand through the gap for a choke, Royler moves his head to the right side of. Davies 1, 46 David can't block Royler's bis head, and! starts to slide Nis hips to to che right and teward the top,‘Once Rayler has his hips out and P quer Dawie's legs, the choke danger use his aims to. is gone. Royler cory noi brace David's leit knee, which prevents David from ralling over the top ane. going for the mount Royler continues to turn to his fight. He CSF ‘wll serop his right leg around David while his left foot hooks inside Davie’ right leg. Royler will thee, have David in nis guard. 5 Detail Notice how Royler places his hands ‘ene en Daviel’s knee and the ather just near icon David's thigh, 13 Reiter sips his hip out and replaces iis eft leg as well, placing David in his lose! quard =1s7—This technique begins ike the previ- hook and putting his foot down to help pull Royler ‘ous back escape, but as Royler gets his back to the center. When faced with this move, body to the side, David reacts by releasing his right Royler escapes by swinging his right leg aver, 5 Dovid has Roylers back. David attacks with his left arm. so Royler starts to escape ta his right bby wropping his tight arm around hishead and blocking the access ta his neck with his left hand. Roylar bridges, puts his Body om tap of Davidls, ancl begins to: free his head to his right David sees that his choke is blacked and that Roylers escape is to the right. Sensing he is lasing , David takes Royler’s bac and begins to lack a fig- OF ure-tour frame around Royler's waist. He loops his ait leg over Royler's waist and locks his left leg over his own right foot. His next. move is to hook his left foot behind Royler’s back ar left knee to cormpletoly seal the lock. Rayler first protects his neck fram a pos: sible choe with his fight arm draped around his head and hi left hand grabbing David's left arm, Royler quickly seitches orips, replacing his left-hand grip on S Davies west with his righthand ene, and using his left hand ta grab David's left footRoyler pulls Davie’s foot over nis teft thigh andl places it betweven his legs, 4} oyler loops hit lett leg over Davids oft foot, locking his oem left foot under is ‘ovum right knee. Royler then uses his nance to push on David's ight knee. Royler applies the final pressure by arch Ing his tarse back and to his left as he fs his hips and pushes David's night knee ‘th both hands. The pressure of Royler's hips pressing up against David's right leg causes poi to David's right knee and ankle, —163—Since you spend most of your time in submission grappling either defending of passing the quard, yau naturally often end up in the transitional position that is the half-guard. ‘These days, many fighters use the half-quard asan offensive position, with its own variety of sweeps and submissions, but traditionally and mast com- monly, the half-guard is a step between passing the guard or having yaur guard passed. In this position, Royler gets caught in David's half-guard and shows an excellent way to pass it. The key to this technique is to control your opponent's head and neck with your arms wrapped under his armpit and around his head, and to keep his back flat on the mat. If, during the struggle, your oppo- ‘nent manages to slip his left arm back under your armpit, you need to readjust your position; other- ‘wise, he is halfvray to taking your back. Roylor isin David's half-quard, His lett arm Is under Davies head, his right an it near Davids Jett hip, and his right leg is trapped bet Nayler needs to free his right knee. He starts. by Brac: lng his right forearm on David's thigh, blocking it. tt the same time, he pushes off his toes. forcing his right knee through the gap. The frame formed by Royler’s Fight forearm on Davies leg will help prevent David from *cimbing* his legs back over Royler’s knee. teseen David's legs, David has proper position, ‘with his left arm under Rayler’s right arm. To pres pare for the pass, Royler moves his right {oat as «love as pottible to David and positions his right knee up under Davids lett knee. Royler leans back and slips hs right arm under David’ feft one, I your opponent =umns into you with his arm under your ‘ormpit, you should switch to the attack shown in position 53, inRoyler locks his hands around David's aren and head, with his left shoulder pressing on David's chin, Notice Rayler’s right arm is up close to David's armpit so David can't easily ‘replace the arm position. Once he feels he has full contra} of David's head and neck, Raye places all his weight on his chest, raisos his his, and shifts his rg ht knee to the right side of David’s hips. 5 Reverse Angle Note how Royler pushes off hit toes and sides nis right tree co tho right side of David's hips. Continued on nexs page — 165 —Royler forces his right knee as for out as possible, until his foot js the only thing still being controlled by David's legs. 6 Reverse Angle “This view shows Roylr slid Ing his knee far as possible, leaving anly his right foot trae by Davis legs Royle places his left foot on Davia's ttt vee and pushes it back, releasing his own fight foot and shooting it forward, Jt all times, Royler is tight on David's head anc arm, almost ‘utfosating him as he pushes his chest forward. This pressure is the key tothe move, because David can’t move his body if he is locked fat 4 mat with his head and arm trapped, = 166 —7 Reverse Angle A 7 Reverse Angie B Note how Royler uses his left foot to gush on Royler pushes off his left foot and drives Davie’ lett knee until he car slip his fact out hhis hips and knee forward, making it impossible for Bavid to keep the right foot tropped. G)) Rovter brings his lft | ‘uve mat, and the guard is pasted, 8 Reverse Angle Nate Royters postion. fight leg Forward anc elt foot on the mat, ready to adjust his body position if necessary. —167—Another good option when con: fronted with the half-guard is to pass directly to the mount. Many people prefer the revious technique of passing to side control, because of its stability and power, but the pass to the mount can be almost as stable as the pre- a vious one, and because it is less common, it will be unexpected. The key to this pass is to main- ‘tain stability and be prepared for a possible bridge or bump once you hit step 5, the riskiest part of the technique. in David!’ half-quord and begins the move as in the previous technique, forearm against David's lett knee outRather than going far across-side position, Royler goes directly to the mount and drives his right knee toward the cround, placing his body on top of David. Royler’s foot is stil trapped. inside David's right thigh, and uses it to SS pen David's right knee up, forcing Dos release Royler’s left foot. At this point, Royler is at she most vulnerable part of the technique: his entire botly is over Davies brody and his feet are tied up. He needs to ba ready for David to release the lock, ups (bridge) to his right, ane! roll over. Shaul! that happen, let goal everything. ‘open your arms and fogs, and brace to stop the reli 5 Reverse Angle this views shows Reyler's hips high, head forward, ane lett foal hooked inside Davia's right knee, forcing Hout Royler olstains the mount.Sometimes when you attempt the half-.quard pass demonstrated in posi- tion 57, your opponent will hide his arm under your armpit, keeping you from getting inside his afm, In that case, it is better to use the jump- T Reverse Angle Nate Royier's body anc leg poston, fs he braces to releas ‘Also natice how David crives his left arm under Re over technique, rather than fight for arm con- trol. The resulting delay could give your oppo- nent time to turn to all fours, replace the full ‘guard, or even attempt to get to your back. Royles braces his right elbow against David's left thigh and starts to work his ight knee out of David's legs. David hides his left aim under Royler’s right armpit and begins fo turn inte: himRoyler rafses his hins, Brsees off bis left hand, and pushes off his left foot. Royley jumps to the apposite side {his right), tanciig with his ket foat on the mat and keeping his knee up for base, Josks insight heel on the mat, pulls on Davis lett {oat with both hands, and aches his body back for the calf lock. The pressure comes fom Royier’sslaht shin pushing oninst the bark of David's left calf, (f Davies leas were reversed, Royler would use the attack demonstrated! In sion GO instead.) ip position 60 Inst 6 5 Reverse Angle From here we can see Royle locking hi right hee! en the mat and pulling Davies {eft foot bag. forcing the cal against Royle right shin =iThis technique is similar to the pre- closes, four windows open!” Since the lett leg is wious one, but because David's feet are over the right foot, there is nothing stepping it lacked in reverse order, with his left leq over his from being leg locked, and Royler seizes the Fight foot, Reyler can't go for the calfslice. epportun: Hovsever, as Royler likes to say, “When one door joyler braces his right elbow ? against Oasid’ left thigh and statis to, i his right knee aut of Davids legs. David hides his Jeft.arm under Royler's right armpit and begins te turn hin, 4a Royler immediately changes: sight at ties and wraps Nis W areund David's head, Royler raises his hips, braces off his left hard, ond pushes off his left 001 5 s telt feat on the mat and 1 his knee up tor bste, Royler checks cut rs leg pesition and sees that he cantt use the Gif lock on Davids lettieg, but that the left leg is now wulnerable 10 a leg lock‘This view shows David's foot position, left leg over right foot, ‘eich prevents the calf lock but opens up the knee bar. oyler grabs Davie's ott foot with both hands, ‘ang hand on the back of the heel and the other just above it, for best overage. agp "os sto eo already between David's le, €.05¢5 a figure-four around Davids leit te, lock ing hig right foot his avn left kenge and pulling David's eg szraight as he raises his hips for the knee bar. ==Rayler believes that across-side is ‘one af the mest stable and secure posi- tions in submission grappling. Therefore, he has developed a great number af submission tech niques specifically for that position. Here, he demonstrates the arm lock to the near arm. This is a very sheaky and painful arm lock, so exercise Royler goes for the knes-on-stomach, Wis right knee on Daniel's stomach, He tiaps Davies right arm by keeping his own right elbow tight against his right thigh. Rayler keeps his left hand and knee on the mat for balance, caution when practicing it with your partner The key is to disguise your intentions of getting the near arm by just lacking it between your leg and elbow; if you were to grab the left elbow with your hand, your opponent would sense your intent and turn quickly to his right to release the elbow. FD Rovier is acrossside ES? on David, with both his arms to Davie's lef J. David has a dele sive posture, his hands under Royle’ rrpapplying the arm lock. Notice that since David's right wrist trapned behind Royler's back, under the right ‘arimipit, ard nis elbow and arm are aver Royler’s ips It will take very Bitte arching ta ere ate the submission with pressure on the elbow, =i = Dy Ryle: Ket hand on ‘the mat lacks Davids head and prevents David frem turning oF escaping hhis hips. Reylor puts his left leg over Davies head as he plants his foot an the outside and begins to sit bock on the mat. Notice hhow Davies arm is fully flocked by Royler's arm, hip-and leg.Ropler favors foat locks in submi e of a gap created sion grappling because they are easy by David's leg position—right foot on top of the and quick to execute and the pain they deliver left knee, blocking Royler’s mount—to slip in a guarantees a high rate of success. As in the pre- foot lock. vious position, Royler starts with the knee-on- » Rayler is acrass-side on David. David has his right foot on top of his left knee to prevent Reyles from mounting him. Royler springs up te knes-on-stomach, his right knaa on Davia's stomach, his right had psy Ing on David's left hip, and his lott hand pushing, dow on Davies throat to create 9 cbstraction, ights to release the pressure Bn his and puts it yetween the gap in Davies legs, maintaining his gp 0m woot, Royler moves hi knee right hand on David's hip while closing his ight elbove, trapping David's right ankle, 3 Detail Note the exact potition of Raylers right knee in the gap in avis tage, — 176 —Royler drops te the mat, culling David's right foat ‘with him, and slips his right knee between David's legs to keep him fram coming up to defend the lock, Al the samme time, Rayler pares his left foot-on David's right hip to keep him away, locks a figure: four around David's ankle, ‘ond arches his torso back for the foot lack 4 Detail Note Royer arp around David's ankle. Locking the figure-four right undar the ‘Achilles tendon produces the leverag: ater 4 Reverse Angle From this view, we can see Roylers let faot on Dave's Fight hip te keep him away —wi—Another great option for a submis sion from acrossside involves moving around to the north-south pos! move to the opposite side, look for.a submission ‘pening such as an Americana or Kimura. in. AS you Royler is acroseside on Cavid, wh both arms to the left of David's body, David's ofonded! under Roy! his le nt acen is ve ight hip and: nc fs against Roters left hip. south positian and uses his right han to top David's right arm from following him around, He also Joaves his right knee in front of David's head, blocking it. This i very David can dele in-a counterclockwise defend the lock important; others mati left army inside David's left arrm and locks his laf hand om his own el 2s ne steps forwa with his left foot. —18—3 Reverse Angle Note Royer ight knee blocking Davis head ard is hold oa David's arm. Pushing off his: felt foot, Rayler torques David's aim to his right, Notice that Royler first moves David's arm over to his right. Many times, David will be holding on to his shorts to prevent the lock, s Royler prevents this by the arm up, He also docs this so thaton the ft David's side with the arm, rerum motion he won oyley brings the ann back around to his lett iaana or for the A\ Kimura lock, applying pres: sure te the shoulder joint, =179—The arms more difficult to submit in arm, Royler gives himself quite a few aptions for submission grappling than in jitrjitsu, because the slispery opponent only needs to slide his elbow out of the grip to defend the attack, Because of that, Royler prefers high-, Reyler has control of BP avis lett arm and 4s moving from one side {0 the othet. David Roylers right tog tis right arm t0 Royter tram get the other sie,2 Detail if necessary, Royler can encourage Bavid inte the triangle by pulling David's right arm up with his right hand and pushing David's head in with his left hand, but in most cases the lock ‘will almost come ‘out automatically. Royler 2lso helos tighten the Jock by pulling his fight foot in with his left hand. Mote that you must trap the opponent's elbow in triangle, otherwise he can slip his arm out Royler tacks his left arm ‘around David's left arm, until his lett hand grabs nit yelst fr a igure. fou, and pulls Davies arm up. Royler torques his body to his left, aking David's aie with Wim and applying pressure ta the shoulder joint for she KimuraOne of Royler’s newest develop- your hips and legs. so that the transition of slid- ments, this move adapts an old triangle ing your leg through the gap will be effortioss set up from the guard to an across-side position. and can catch your opponent unaware; if you are Again, this position will surprise most people, so. not that flexible, you can improve your angle by don't use it too often and wait fer the right sliding your hips up toward the opponent's head. mament to spring it. tthelps ta be very flexible in Royler across-side on David with Royler reaches around David's head veith his toft arm, switehes his hips—lett hip to the mat—and grabs David's lett west wit his right hand, Notice Royler's right leg with, the knee up tor base, If you are not as fhex ble, push aff your right foot ta scoot your hip up, which will help see up the next step, > sips his right eg through the gap betvween the arms and Davids body. —190—Pushing off his left foot, Royler rolls forward {over David's lafe shoulder), pulling David with him as he opens his right leg to trap Oavies right arm. the triangle, David's ight arn and head Inside the frame, Royler facks his left leg) over his right feat and can nove release nis Ieft-hand gyip-on his right foot, since the ‘riangle is completely lacked. head and pulls 16 him as he squeezes the triangle yeith his legs, 11Another great attack from across side is the forearm choke. in this posi tion, Roylerstarts out with his arms on David's left side, then changes his control position by wrap: ping his left arm araund David's Mead. This & a very common controlling pasition trom across: side, and David knows how to defend it: his arrns Royler changes his control aay fond wwe aps his fete arm around David's head, —192— are in the proper posture, his right hand control: ling Roylers left hip and Wis right arm hidden under Royler’s right armpit. Letting your oppo: nent feel comfortable and out of danger is the key to this position, because that allows you to surprise him veith a forearm choke, vwith both arms.en David's rightBp Sensing tha David i relaxed, Royler goes for the forearm choke. He locks his hands tagether, raises hi chest up. and brings his elbow toward his leit one, driving his right forearm into Davis throat Royler springs aff his feet and brings * both elbows together choking David. 4 Detail Note Royler's hand grip, Since his right forearm is th one on Davies throat, his right palm faces u and his left one faces down. —193—Raising the head is a very common acrassside. A cagey fighter notices such lapses mistake when on the bottom. The oppo- and responds decisively. In this case, from across nent may bring it up when you pull a knee-on- side, the neck crank can finish things quickly. stomach, when being mounted, or when caught Royler is across side on Fo Devi, with both hands to David's right. David raises his head off the mat Se his right atm around David's meck “2 25 he tides his right leg aeross, turning his hips to hic Fett. loyler sis on his right hip nd grabs his over right wrist is left hand, ler grip left hand grip as his arm encircles ping right v David's nece —158—joyler loops his left leg over David's body and lands his foot ent to David's right hip, makeing aure fre keeps his right leg flat on the mat, semi-cxtendedl, with his knee touching David’ left hip, Rovler pushes off his felt leg, places his head and right shoulder on, the ground, and Js bordy bask as Ie digs his forearm into David's head at the same time. =195—Often the progress to achieve an practitioner can lure the opponent into attampt- arm lock from across-side is slew and ing to escape by ralling over the top—only 20 methodical, and 2 strong opponent will have fall into a triangle. We pick up the action after time to lock his hands ane resist. Rather than Royler has secured Megatan’s right arm {rom ‘expending too much energy to achieve the arm acrassside, moved around the head, and is in lock, perhaps even losing the position, the smart the finishing phase of the arm lock. FED Royler has EEF mrogaton’s right arm in an arm lec, Dut Megaten has Jocked his hand andl defends fiercely. Royler loaps hie ight foot in front of Meqatan’s left elbow and eases the pressure fonhis left leg, which is ‘aver Mlegatan’s head. The left lea controls Meqaton’s ability te free Ws head ane! roll to his right to get ever tune top of Ropler.Poy Sensing an opening, Megaton slides his head from under Royler's lee, pushes off his left leg, andi rails cover the top-of Royler, thinking he hos defended the ain tock. Royler allows Megaton toga to the veraps his right leo around Megaton'’s neck. top, as he ‘whem his back touches the mat, Royle alveady has Megaton's head and right arm locked) into the triangle, He pulls Megaton’s right as _aerase nic body with both ands to cinch the choke, Royler places beth bonds ‘on the back of Megaton's head and pulls it forveard, ‘while squeezing his knees for the submission‘The more attacks you with his hands protecting his neck. Since Megaten is nat ilo Rojlers knees, Rayler climbs up further, raising Megaton’s elaows, Note that if your appenent manages to keep his elbows so low and tight that you can't get your knees under, you'll need to switch ta the attack demon: tel in position 72.) Royler drives Megaton’s right motion by Megaton’s right wrist ‘ith his right hand, b, Rogier lonsers his chest and ? traps Megaton’s right elbow, reaching around Miegaton’s head! vith his left 1mm while pushing Megatons Fight wrist down and/to lett with his rigint hand Royler exchanges his right-hand grip.on Megaton’s ‘irist fora left-hand one and slips his right hand ‘Shrough the gap near the wrists. At this point, Royler has complete control of Megaton’s torso,Royle svtte his body to his loft, sides hic lett knee forward, pulls Megaton's head aver his gh, and sts on his loft heel Royler lies back to his right, pulling, Megaton with him. The right fost aute- matically hooks Megaton’s right hip. As he fgets Megaten on top of him, Royer exchanges his grip an Megatom’s wrist and slides his left arm around Magaton’s neck 6 Reverse Angle Note Roylers handiwork: his eft hand {eleases Megoton’ right wrist and f replaced by hs right hand. His els hand wraps arourel Megaton’s mock Royle: must meintan coniro of Megat Ht wise url Royer eft arm is completely around Negaion’s neck atherwise, Megeton would have hishand free t block Roles arm from going around ‘cominuing 18¢ ang) oyler lock the leit hack, orab his right bleeps ‘with his left hand, bend his right Foreanm put WS fight hand behind Megaton’s heed, ond press t -choke by squeezing his eloows together as he pulls his eft orn tight around Megaton’s neck, Notice ‘hat Royler has iis head close, with Is left cheek behind his right hand, for two reasons: ithelps press the choke, and it makes i harder for Megatan to reach over with his hands and pry Roylers right hand fram behind his head.As in pasition 76, the opponent has low and tight that you can’t get your knee in ‘his hands crossed im front of his neck and his elbows are losy, making it difficult to use a key lock or attack the neck with a choke. You (common if your adversary has long arms), then you need another solution. Here, Royler appraises the situation and decides 10 go for the can try to take the back, as in position 76, but if head-and-arm choke. the appenent manages to keep his elbows so Royler is mounted on Megaton, hut ‘Megaton has his elbows tight and low. Royler apprsises the situation and sees that Megaton’s right arm is aver his eft arin, mak: ing his right elbow slighty nig than the left. Royler drops his chest down andl his hips hack, opens his arms wide, planti hands on the mat, andl arops his feft shout der just under Meqaton’s right elbow. 2 Detail Note how Rayler lowers his shoul der below Megaton's elbow to be able to get under it and lift 206hands firmly planted on the mat for Royler moves his body forward and irives his left shoulder to his right, pushing egaton’s righ arm across his face Royler grobs Meaaton’s right wrist sawn right hand and uses his head ta lock Megaton's arm in place. Royer releases Meaaton's wrist and wraps Nis right arm around NMegaton’s head until he «an grat his right wrist with his lelt hand, Now Royler hhas Megaton trapped in the head-and.-arm trlangle, ‘sith his right arm and head locking Megaton’s riaht arm and head, Royler jurnps to his left and pushes forward aff his toes, driving Megaton’s eight arm in ashe tightens his arm grip for the choke, Notice how Rogler uses his head ta add pressuire to the thoke as he drives his right snoulder down to cinch the lock and pulls his right foreerm in for ‘the chake. Its vital to make sure that the direc tion of the pressure is not straight up, but rather inta the opponent's Adam's apple —207—Because the acrossside position is very stable for the attacker and is the launching point for so many attacks, being able to escape fram it and reverse the situation is Paramount for a serious submission grappling fighter. This escape-and-reverse technique works secures the position, but will work even if he is already stabilized across-side, The key is to main- tein the pressure on the upper shoulder as you tum, which is accomplished by only changing your feet position once you have at least one foot able to apply forward pressure, best hefore the adversary passes your guard and Megaton is acrossside on Royler. Rayler has goad Posture, his right arm blocking Megoton’s left hip and his feft arm under Megaton's armpit. Royler bridges stightly to hot escape his hips to the left A the some time, Royler keeps pushing off his laft foot ‘and drives his left shoulder into Megaton, maintaining ‘a brace there, This i very important: it you release that Pressure, Your apponent can just chive you Back down: Stil! bracing with Ps loft leg, Royler steps ‘through with his right leg and plants his right foot dow to reaiate the pressure of is left shoulder against Megaton’ chest Royler loops his left leg over, turning onco his stomach, and feaches forerard with his arms, Royler continues his footwork, driving forward an Megaten until he ison his stomach and his ams sur round Megaron’s legs to prevent Megaton from circling to ‘He back. Since he turned over to his right, Royler’s head! ix ‘on the outside of Bfeqatan's right hip, so he steps fonveart ‘with his let leg. Notice that Roylers toes are planted on the mat and he ispushing forward off both fect, —208—Royler coils his right leg and secures 3 grip behind Megaton’s knees, still keeping his head to Megaion’ roht side 5 Reverse Angle Observe Roylor's grin borin the knees. Ho uses a “eh ‘tin, al ve fingers to the same for extra power. Royler grabs Megaton’s right lag just behind the knee by bringing his right arm betwee Megaton's legs, edging his forearm behing the kee, one gripping his bgh wrist with is ett hand to lock the grip.Notice that Royler’s head is ay the same side a5 tl Pushing off both legs, Reyler drives Megaron bback over his right leg, taking him down to the mat. I is important to dive for: ‘ward to topple the opponent, rather than ‘expecting to use your arms to pull him over, Royle continues the move by stan ing un ashe centrals Megaton’s igh arr with his Feft hand anc keeps iis right arm a‘oured Megatan’s right knee. Natice that Rapler has Mtegaton’s sight teg, trapped by his chest and thigh as well. for a fevs options, such as @ foot lock, a knee bar, of a pass.‘n this situation, Megaton is acrass- side on Royler and has his right arm between Royler’s legs. The attacker may have his arm there to control your legs during the pass, or Roylor braces his left forearm in front of Megaton’s nece, pushes aff his lett foot, and escapes his hips to his left, The brace in froat of Mogaton’s head fs essential it keeps Hegaian from following the hip ‘sicape and places his head in the perfect place for the mave in step 3, Royler also locks Megaton’s left hip with his right forearm ta keep Megator, fromm citing to Royer’ heard he may just place it there to control your hips, Whatever the case, a5 s00n as you see it, you have ‘an opportunity for a reverse triangle. Megaton is across: side on Royler and thas his ight arm botwacen Roylers lens. —20—Dp Rovler-wrops his teft beg around Megaton’s head the pulls Megaton’s right vrtist with his left hand: Royler keeps blocking Megaton’s left hip with is right hand, Royler loops his right leg aver his left foot, closing a figure-tour reverse twiangle on Megaton’s right arm and head. Royler tightens his, legs and pulls Megaton's rant arm far checking pressure, 4 Detail Note how Rayler pulls Megaton’s right ‘any toward his head to-apply the triangle pressure on Megaton's neck. From this position, Royler can alco change his hands and grab behind Megaton's left elbows, slid ing his hand up to Megatar's left esst and pulling the elvows down for an arm lock, oF ‘even apply a Kimura on Megaton’s left acm. =mLess dominant than the acros+side as well as the chance to take the back, s0 it potition, the north-south position is important to know how to escape ft n this case, generally used insubmnission grappling asa tran- Royler's arms are inside Megaton's arms, $0 sition state when moving from one side to the arms ther while acroseside. The north-south, how!- ever, gives the attacker many submission options, Rayler chooses the pendulum escape. If were outside, he would need to use the knees. through escape demonstrated in position 81 tegetan isin the north-south pasition on Rowler. Since his arms are inside of Megaton's ‘rms, the first things Reyler does are to brace his hands on Megaton's hips, hop his own hips down for distance, and stretch his fegs out 1 Detail Nate how Royler's arms are braced against Megaton’s tes very Important ta inthe brace and! the pressure af she arms through 1 move, otherwise the opponent will clos Roylor maimains the am brace on Megaton’ hips NE and starts to swing his legs ‘rorn side to side, pushing if the opposite arm te-cre- ate distance and power First to his lett. —72—‘Then down and around to hisright. AL every sning, Royler makes sure is legs ‘are fully extended and his feet are low to the ‘round for the grestest leverage. tf he swings his feet high rather than close to the ground, ‘the circle willbe shorter and the momentum generated weil be much less. With each suring, Royler skzo pushes of, extending his arms and creating space between his to1s0 and egaton. Your opponent veil know what you are up to, but as long as you keep the brace (on his hips, there i lttle he can do, He may ly to switen hiships, chenwing his leg forward to the same side as you swing, ‘ance he feels te has enough distance and momen: twin, Reyler gaes for the big swing. whipping his leas and head around with full force and coiling his inner |e, (in this case his righ lea ashe swings to Ws right). The Royler co) Unues the rotation and drives his right knee all the way in to. Megaton's left hip, With his Fight hand, Royler pushes htegaton’s left elbow across z0 he can slip his right foot around the outside of Megaton's body. Royler replaces the <2Obviously, the more options you have to escape any position, the more difficult you make it for your adversary to cover allthe bases. As in pasition 80, Megaton is in the north-south position on Royler, but this time Aoyler’s arms are an the outside, making it more difficult to use the pendulum method because Megaton b In the north-south position om Royler. Since Royler has his arms an the out~ side af Megaton’s arms, he opts for tive k through escape. his right forearm in front of Megaton’s throat nd makes a brace with his left hand, pushing. fon his right fist. The pressure of the blade of the forearm on fvlegaton’s neck will create space. he cannet brace Megaton’s hips. (The methed ‘can still work, however, by leveraging your biceps instead.) Royler opts for the knees through method of escaping and replacing the ‘quard, The key to this method, again, is to use the brace to create and maintain space between you and your opponent. Royler bridges as he places his right fore acm in front of Megaton's head. 3 Detail Note Royler’s frame; slaht forearm in front of hand supporting his right wrist. Royler sides is right knee under Megaten'’s fight arm, creating more space, —23—5 Detail Royler pushes Megaton's triceps forward, opening Megaten’s arms, making it easy to slip his knees in, fRoyler sides his left knee in as ie changes his hands to prop under Megatows armpits. Pushing off swings under Megatan as he kicks his loft leg out and around the left side of Megaton’s head. D, Royler continues to spin to his lett until his rlght: yes out in front af Megaton's torso. Royler swings his left leg over to the right side of Megaton and “EE pushes his legs forward, Rayler replaces the guard. —215—Often in submission grappling matches, both fighters wind up on all fours, facing each other. This frequently happens asa defense to a guard pass, when the fighter being passed turns to his knees to avoid being Royler runs to his a left and w vot right arm around Mogaton's neck, still keeping his weight on Megaton’s back - Getting acrossside from all fours scored upon. It is important to have some tools to get the opponent back down and secure the across-side position from which so many attacks Bp Royler it on top of F raegaron’s bi fighters facing each o:he both Notice that Royler puts the weight of his chost om Meo: him pinned. 1's back to Xt —216—Royler continues to move to his left until he EF robs Megaton’s left feat with his left hand end changes his right hand to grab Megaton's eft elbow. At this point Royler's weight isstill ‘on Megaton’s bad and he is dominating Megaton's left side is toes and toppling Megaton ta his left. Royler secures aeros side position, his right arm blocking Megaton's neck and his left Blocking Megaton’s nip. —2As in position 82, we start with both around Megaton’s arm and goes directly for fighters facing each other and Royler the submission. This grip around the arm is quite on top. Royler can't immediately force Megaton powerful and will work against even the most to the mat for control because this time heis fer- stubborn opponent. ther away. Instead, Royler uses an altemative Megaton is on all fours and trles to“ control Royler's legs. Royer cart Megaton’s back to press hi down and control him, £0 he wraps his right arm just under Megaten's left armpit and locks his fingers sogether, while pressing his left forearm into the back of Megaton's, shoulder, Reyler pulls his elbows sogether as if he wer tying te touch one with the other. 2 Detail Notice the grip: Royler’s fingers are locked tight and his lafe forearm Dressesdown on Megatan’s loft shots er. Bringing his elliows tagethar gives Royler greater leverage and tightness. —218—Royler turns Megaion over By iting his right elbow while or jag daven with his eft one as he rives his torso to his left Royler continues the presse until he has Megatan’s back (on the mat, Note that Royler still has @ lock on Megaton’s left arm, Royler steps forward with his right leg, turns Megaton aver to his left, and slides his bolt knee on top of Megaton’s left hip, Royler goes far the an Jock, sliding his hands 10 Menaton’s left wrist and pulling it to his chest ashe raises his hips, applying pres sure te Magaton's left elbow. —73—In this scenario, with both fighters facing each other, Megaten is able to shoot in and grab Royler's right lea with his right arm. If Reyler doesn't react quickly, Megaton svill grab his leg with bath arms and be in a position ta force him onto his back, Royler cleverly uses his legs to control Megaton's arm, and goes for a choke from the side. Royler and Megaton are facing each hRoyler on top. 1 other wi 2 Megaton shoots farveard and gratis Reyler's eg with his right arm, Royler sprawls, to defend the leg hold, so Megat In, Notice how Rayler drives his hips down te. i log back and break Megaton’s grip. (if Ihe sprawl 1 unsuccessful, you'll need to switch to the neck crank demonstrated in position #53) lack ‘with Megaton still fighting te ‘gain the grip on his right leg, Royler © circles to his left, wrapping hes rig ary around Megacaa’s throat ane grab- bing Megaton’s left arrn. Rayler’ left hand controls Megaton'’s [eft hip. —20—Royjles switches his hips, shooting his right F teg over the top and his left leg forvvard, trapping Megaton’s arm with them, This lock applies a lot of pressure to the shouldes and sometimes to the elbow, depending on where the legs are in relation to the elbow, Royler pushes his right arm f f around Megatar’s throat until fe has his SS {ight elbow centered in front ot Megaton’s ‘Adam’ apple, He lacks his right hand onto his left biceps, bends Wis lett arm, focks his left hand on the back of Megaton’s head, and sinks the choke. Notice that since IMlegaton’s tight arm is locke, fe cannot use it to defend the choke. Hi left arm cannot help either, as irs the only brace supporting his bady frorm hitting the mat. 5 Reverse Angle Note Roylers leg pasition as he switches nis hips. Royler shot his left leg forward and bis right leg back, tapping Megator's arm, nSAsin position 84, Megaton is able to sheet in and grab Royler’s right leg. This time, however Royler tries to sprawl, but sensing that he is losing the battle and will soon on DMegaton’s and reaches Roylor diops his che bock, oper his lett leg ‘with his forearm in rent of Meqaton's oad until ne can grab Megartor’s left wrist with his right hand. He ala. vvraps his left arm around the insile ‘al Megaton's tle near the elbsaw with his left hand. left arm and locks in the. be toppled by Megaton, Royler employs an ‘option te turn this bad situation into a submis- sion opportunity. ‘Megaton has shot in and = grabbed Royier’s right leg. Bh) Rayler rolls forward over his Jett shoulder, gD Po kicking his lett log totheip the rll. Reyter akids is ight leg aver aswell, diving rn. Qotice that Roylers ls Megaton’s right arm and upper it ashe rll)Js he lands with his back on the mat, Royler clases a figurefour around Megaton's right arm and releases is left- hand orip on his own wrist, RRoyler deives his legs down, forcing Megaton'shands fo leak open. He ‘ulls Megaton's let arm back by the ist with his right hand, Royler wraps his right arm above Megaton’s left armpit his head. Royler pulls Megaton’s head my towerd his head with bath hands fara neck «rank —23—Hete is the counter to the lock armpit and the hands locking over. If you allow demonstrated in positfan 83. As previ- the opponent to bring his elbows close together ously stated, that lock is very powerful, and if and apply pressure on your shoulder it will be Royler doesn't react quickly, he will end upon tao late, because your head will be trapped on his back in an arm lock. The key here is to react the wrong side for the escape to work 45 s00n a5 you feel the arm coming around your Royler ison all rs and 7 Megaton is able to wrap his right aim around Royler’s left armpit anc lock his hands an adjust his id bring tis elbows together, driving them dawn on Royler's back, Royer tps back ond out with his left ler (2 abs Megoton’ ah: ‘nlceps with his left hand, and shaots bis heed under the arr.Bracing off his right hand and left foot, Royler shoots his right leg through as he pulls Megaten's right arm open and shoots his head up, driving it araund Megaton's armpit and ever the top of his shoulder, Notice how Royle’s hips are pointing up and his buttocks are off the mal, He needs this clearance to keep his mobility 2¢ he goes for the next step. Royler shoots his right leg over the “of top, pivoting over his lelt ie, Royller ends up in the ‘reverse position an top of Megaton’s back. Soe‘The next ferv moves demonstrate a mobility and ‘many options, Perhaps his favorite series of attacks from the open guard. move from the guard is this arm drag, which Royler likes to use the butterlly guard (guard ends with Royler taking the back. The key to this with hooks inside) because it protects his feet move is the surprise of the arm drag and the hip and legs from submissions and gives him great slide to the side toward the back, Fa) Rover has Megston in his guard with hooks. He conttols Megaton’s wrists with both hands snd keeps his hins distant from Megaton, leaking for 8 tll in the action, Since Royler’s hips are back, Megaton doesn't feel he threat af a sweep coming. Royler quickly changes his right has Megaton' triceps. He leans back ane pulls Mlegatan across his body by the ri left hand pulling Megaton's wrist and right hand dragging Megaar’s elbow across. Royler continues to drive Megaton across his body ashe sits up... 7GAnd slides his hips to-his left Royler now is on Megaton's right sie, with his left hand hooked around Megaton's left hip and his right hand on Megaton’s elbow. 4 Reverse Angle From here, we can vee Royler’s hook on ‘Meqaton’s hip. The combination of pulling ‘on this hook and driving the elbow across fs very powerful and will turn Megaton over, >, Royler releases his left foot and ‘Stives Megaton around, pushing 5 right elbboxv and pulling his left hip, out him onta his back Megeton lands with Royler on his back 2Sometimes during the burttertly- here. The key to this technique isto make the hip guard arm drag when you pull the escape pronounced enough to straighten the Opponents right arm and try to cross it, he will arm and give you enough space and angle to resist by sitting back on his heels. If that happens, _loep your leq over the opponent's head, you need to change to the side arm bar shown Rarler has Megaton in his auttertly quard ‘and is dominating both hands. Again, Royler is sitting with his hips far from segaton and waits for Megaton to relax his quard, with his right hand as he sits back anct ‘actempts to pull Megaton’s arm across his body Megaron resists the mave by bra Ing wich his eft arm and sitting back 2 Detail Notice Royler's grip, right hand grabbing around and behind Megaton’s elbow, Since the elbow Joint is a widle part of the arm, Rayler’s orip is secure and he can pull without his hand slipping—a key consideration when there fs na of armright, leaning his head toward the mat as he releases his left foat and slides his hips left, Notice that Megaton does not fall all the ‘cay forevard, os in the previous technique; he only leans forward, with his burtacks still necks, nut Royler’s hip escape the angle fer the attack. Contiquing to twist his , Placing his right foot on Megaton’s left hip ‘while pushing Megaton’s tarse, Rayler sides his oven torso aveay. Notice that Royler has egaton's left leg trapped by his right leg and tbody. He closes his leit leg in to lock it even ‘more. (Hf the opponent negates the lea trap bby bending his ieg, you should switch to heel hook in position 102) Royler sits up and locks his righ eg around Megatons left knee, haoking his righ 19 and his left foot uncer Megaton’s right knoe, keeping, Megaton rom getting «tose or scooting to any aide, Royler places his left hand and! right elbow on Megaton’s calf and shin to keap him from freeing his foot own le Royler applies presture by straight ening his legs, Pushing down on Mogaton’s left knee with his right leg at the same time that he stiaightens, ‘oriving the right foot down, acids [pressure t0 the jock. ns‘As in the previous two positions, quickly goes for the heel hook. This is another Royler attempts to take the back after example of the sequences of moves or “phrases the overhead sweep fails. This time, however, as that a submission grappler needs to have at the he goes for a foat or knee lock, Megatonis able ready. The key is 1o be able to move seamlessly to bend his leg, negating those attacks. Royler from one to the other as the opponent reacts, Dy Royler tes hack on the mat and pulls up on his arin, lifting Megaton over hhis hese, Meqaton braces Ih both hanes on the 1, blocking the sweep, Royer attempts to go to the Back, BuE Magiaton ‘opens his right lag to block the path, Roylar keeps his arms bracing Megatan’s enest and grapevines hs lett tog around Megaran’s right ane,Placing his left foot on ‘egaton’s right hip ‘while pushing Megaton's torso t0 the right, Royler sides his oven torso avvey. Royler immediately vvtaps his left-arm the elbow around Megaton’s right heel, Royler clasps his hands together, pushes off ‘with his left foot, and tevists Megaton's heel to the right for the heel hook, Notice that Roylle’s right foot remains hooked behind Megaton' left knee, keeping Megaton from rolling forveard to avoid the pressure, 5 Detail Notice Royler’s grip en the heel, with his arm locking the heel at the elbos. —2I—Royler here demonstrates 2 great Sweep from the open guard. Royler tries te pull Megaton forward and perhaps take his back. Megaton resists by leaning back and pulling his arm out, so Royler uses that reacti to sweep him, Royler hos Megaton in the traditional pen guard, tel\ foot on the right hip nd right hook behind the left ankle, Royler starts the action by pulling 1on’s right arm towoid inh, ning back. 98 he nce and pull his arm aut es Megaton's hip back with bhi left foot os he pulls Mlegaton left leg ‘in seth his right hook. J Detail A 1 Detail B Royler’s right foot hooks right behind Meg aton's Notice how Roy Jeft heel, greatly helping when he pulls the foot right hand gt controls Megaton's right 317, ping Ml nd left hand grabbing the elbow for total control st farward for the sweep —38—Aoyler quickly lets go af Megatons atm ond sits up, curing his right eg under his bod. With his right hand, he grabs Megatan's left heel and continues to pull. Pulling with his Jeft hand om the left knee helps force Megaton to the mat. Bracing with his left foot, Royer pulling Megaton’s ett © fuel and eontinus press non the left knee until Mogaton’s buttocks fi » Royler stanle tp, still in 7 full contro! of thé leg, with the same pull-and-push pressure, forcing Megaton all the way to the mat, —253—