This article is devoted to twelve reconstructions of key combat situations, each of which is considered not as an episode of action, but as an object of operational and analytical analysis. It is not about demonstrating techniques or reproducing methods, but about attempting to restore the internal logic of what is happening — from the environment to the final outcome.
Each reconstruction is structured as a sequential analysis of the event. First, the context is established: where exactly the clash takes place and what limitations or opportunities the space imposes. Then the opponent’s behavior is examined — not in terms of detailed actions, but at the level of intentions and pressure. After that, the principle of the school that is activated in a given situation is identified, and the mechanics through which this principle is implemented are described. The analysis concludes with a summary — not as a “victory result,” but as a consequence of the chosen structure of interaction.
This format allows us to view combat situations as systems rather than a set of random movements. Reconstruction here is a way to understand why an event unfolds in a particular way and not another, and which structural solutions prove to be sustainable in real conditions.
Sicily — three situations
Silence, extremely close distance, and action without unnecessary movements — this is how the Sicilian model manifests itself in reality. None of these situations are based on speed or pressure. At the center is a pause, an everyday context, and the moment when the opponent completes his own mistake.
“The narrow alley of Palermo”
A strike after a pause
Late evening. An alley about a meter wide. The opponent blocks the way and begins to threaten with words. The Sicilian lowers his eyes — a demonstration of submission.
Pause.
The opponent takes a step closer, confident that the situation is under his control.
At that moment, the Sicilian takes a short step forward, as if about to leave, and immediately, gently and precisely, thrusts the knife under the rib, slightly to the side, at an angle.
The mechanics: ultra-close range, a hidden stab.
The result: death in 20-30 seconds, almost without a sound.
“Cafe on the Outskirts”
Cut to the carotid artery
A cramped bar. The smell of coffee. Flies over fruit. The attacker grabs the Sicilian by the sleeve.
The Sicilian does not pull his arm away. He accepts the grab — it is a trap.
With his other hand, he makes a short horizontal cut across his opponent’s neck, almost imperceptible from the side, as if he were simply adjusting his collar.
The mechanics are a straight cut from a fixed position.
The result is that the opponent loses consciousness in 7–10 seconds.
“Courtyard conversation”
A blow from a handshake
Two “acquainted” men meet in the courtyard. They shake hands.
During the handshake, the Sicilian slightly pulls the opponent toward him and makes a short stab under the rib cage, covering the blade with his palm so that nothing is visible from the side.
Mechanics: a hidden stab from an everyday gesture.
Result: the opponent walks away, but falls down a minute later.
Spain (navaja) — three situations
Duel. Style. Misleading gesture.
The Spanish school does not rely on silence, but on visibility: the movement must be noticed, but misunderstood.
“Seville Alley”
Blow through the cloak
A narrow but long alley. Face to face encounter.
The Spaniard waves his cloak as if to brush away dust.
The opponent reflexively looks at the fabric.
At this moment, the navaja is already entering in an arc under the ribs.
Mechanics — a distracting gesture and an arc movement.
The result: the opponent loses his bearings, then consciousness.
“The Musician and the Bully”
A strike at medium range
A square. Lots of people around.
The Spaniard holds the knife so that it is visible.
The style is simple: let it be visible, but not clear where the strike will come from.
The opponent responds with a wide swing.
The Spaniard shifts to the side and makes a cut to the forearm, disabling the arm.
The second movement is a stab to the solar plexus.
The mechanics are medium distance, cut, and stab.
The result is that the opponent loses the ability to continue fighting.
“Dueling Circle”
Slow entry
Two people move in a circle, like in an old flamenco dance.
The Spaniard changes tempo: slow step → sharp step → instant jab.
The opponent adjusts to the first rhythm and misses the second.
Mechanics — playing with rhythm.
Result — a precise jab to the stomach.
Canaries — three situations
Rhythm. Arc. Maneuver.
The Canarian school is all about movement: it doesn’t fix a position, but constantly shifts it, forcing the opponent to lose their footing.
“Port warehouse”
Razor arc
Semi-darkness. Between the aisles are piles of boxes, visibility is limited.
The Canary makes a false move with his body, as if he is about to retreat.
The opponent reacts and takes a step forward.
At this moment, the razor passes in an arc, almost horizontally, along the opponent’s face.
Mechanics — arc cut and body work.
Result — blood loss, panic, the fight is over.
“Back Street of Santa Cruz”
Double weapon
The opponent is armed. The distance is unstable.
Canary fixes the arm with the weapon with a knife, simultaneously cutting the neck with a razor.
The work is done in opposite phases: the right hand holds, the left hand acts.
Mechanics — simultaneous work with two instruments.
Result — instant advantage in combat.
“Stone Stairs”
Rhythmic deception
Stairs. Stone steps, different steps, awkward angle.
The canary stops abruptly, deliberately breaking the rhythm.
The opponent, not expecting a pause, takes a step “into the void” and loses balance.
At this moment, the canary enters the armpit area with a knife.
The mechanics are breaking the rhythm.
The result is a silent fight.
Mexico — three situations
Explosion. Pressure. Controlled chaos.
The Mexican school does not set the scene — it breaks it, imposing short, fast-paced contact.
“Barrio. Narrow corridor”
Series of strikes
The corridor of a residential building. The smell of food, shouting behind doors, cramped conditions.
The Mexican closes the distance with a lunge and delivers three strikes in a row:
stomach → liver → thigh.
This is the tres golpes method — a series with no pauses between strikes.
The mechanics — a series at close range.
The result is that the opponent does not have time to defend himself.
“Street fight near a store”
Disabling the arm
The opponent pulls out a knife. The distance is reduced instantly.
The Mexican strikes the biceps — the cut disables the arm.
With the next two strikes, he goes for the torso, giving no time to recover.
Mechanics — disabling a limb.
Result — the opponent loses control of the weapon.
“Barrio garage”
Breaking through with body pressure
Garage. Slippery floor, concrete, low light.
Without waiting for a strike, the Mexican bursts in with his body and pins the opponent against the wall, simultaneously striking him in the stomach.
The pressure does not stop for a second.
The mechanics are pressure and a series of strikes.
The result is that the fight ends in seconds.