Zanjutsu (LordGalvatron)

Zanjutsu (斬術, "Swordsmanship"; Viz "Art of the Sword"; Cutting Technique) is the fighting style for the Zanpakutō (i.e. sword-fighting) and is one of the four fundamental combat styles of the known collectively as. Arguably the most important of the fields due to the nature of the Zanpakutō, Lieutenants and Captains of the are often required to achieve considerable skill in this particular way of combat to become worthy of their position.

Overview
An art quite extensive in its scope, Zanjutsu is ancient and predates the foundation of the Shin'ō Academy. The art of sword-fighting that has eventually become a staple of the combat style of a modern Shinigami was first invented and developed by the Sōzōshin. There exist six distinct forms within the Zanjutsu. All of them had been already defined by the time Gotei 13 was established.

Way of Moderation is the default form taught to all students at the Academy. The form is a comprehensive set of 108 moves that include a wide variety of offensive and defensive techniques. In addition, it encourages the employment of other fields of the Zankensoki in order to supplement the fighting style. Nonetheless, there exist five derivative forms as well. Each of them boasts a set of 54 different specialised moves more suitable for a specific approach. Even though prospective expert swordsmen are generally advised to choose one of the derivative forms due to their defined nature, the practitioners are free to include moves from across all six forms in order to develop a distinct custom style. In fact, the fighting style of a true master swordsman, whilst still largely adherent to a specific form, rarely contains recognisable elements from less than two various forms. Another common practice is to invent one's own techniques as well.

On the whole, each form is a compact with a distinct combat philosophy. The form is a strategy, the general approach the practitioner takes in order to achieve one's goal: overcome the opposition. Accordingly, every move included in a form is a specific tactic employed to achieve that goal, a single expression of the overall approach. The moves are rarely performed in separation, but rather in a variety of sequences. However, they are far from being rigid in their delivery. This is due to the fact that each move is a "template" of sorts and as such easily adapted depending on the circumstances. Whereas there exist 378 distinct moves total, the influence of factors such as sequence, position, trajectory, strength, speed and cunning means the permutations are virtually endless.

Way of Moderation
Chūyōdō (中庸道, "Way of Moderation"): The default fighting style characterised by its versatility and balance. In short it is a solid, comprehensive set of fairly generic moves that constitute the common basis shared between the more defined styles. Even though it lacks any meaningful advantages there are also no drawbacks present to readily exploit. Additionally, it involves frequent usage of other fields of combat, such as or, in order to supplement the swordsmanship. As the basic and most well-rounded style of combat it is taught to all students who attend the.
 * Nidan Kōgeki (二段攻撃, "Two-Step Strike"): This manoeuvre consists of a strong sword strike that aims to force a shift in the enemy's defensive stance. Once successful, the practitioner immediately follows up with a roundhouse kick that should be able to hit unabated.
 * Satsujin Hitouchi (殺人一打, "Murder-Stroke"): Under certain circumstances it might be more convenient to strike the enemy with the pommel of the sword rather than swing the blade in an ordinary attack. Such a strike is often quite unexpected and may briefly stun the opponent.
 * Sokuji Ōtō (即時応答, "Immediate Response"): The practitioner evades the enemy's attack, possibly with the use of, then strikes back immediately afterward. Swift enough users might catch the opponent off-guard.
 * Tsuri (釣り, "Angling"): In general, the move involves the user casting a Bakudō spell such as or, in order to constrain and pull the opponent toward the user. Then, the practitioner should be able to slash one's enemy with impunity. Ideally, the first move prevents defence or evasion. It is worth noting that the technique might be performed with any chain-like item that has the right properties.
 * Yoshin (余震, "Aftershock"): Whenever a sword strike disrupts the enemy's defence or forces them to withdraw, the practitioner can quickly cast a Hadō spell to exploit this brief window of opportunity and intercept them.

Way of Resolution
Ketsugidō (決議道, "Way of Resolution"): This passive form of combat is the preferred style of benign combatants who are unwilling to eliminate their foes. Focussed on perseverance and economy of movement, it emphasises defensive techniques performed with the employment of tight bladework and subtle dodges. The nigh-constant and efficient swings of the sword are intended to cover a wide area and offer substantial protection with little effort on the fighter's part. Composure and focus are essential. As a result, the practitioners of this form aim to outlast their usually more aggressive opponents with impressive resilience and efficient delivery.
 * Aburaha (油刃, "Oil Blade"): A distinct stance that requires precise positioning of the sword. The technique allows the wielder to protect themselves with little effort as the correct angle causes the enemy's attack to virtually slide off the blade.
 * Furiko (振り子, "Pendulum"): A bizarre yet versatile defensive technique. The warrior holds the Zanpakutō pointed downward with the main hand and maintains the off hand on its pommel. As a result one is capable of swinging the blade in a pendulum-like fashion that allows to effectively protect two-thirds of one's body. Moreover, the user may quickly swing the Zanpakutō upward to defend their upper body as well.
 * Kyozetsu (拒絶, "Rebuff"): This basic defensive technique is very effective in its simplicity. Rather than allow the enemy to perform their strike unabated, the user parries abruptly with a swift and powerful one-handed swing of the blade. Usually, the technique is sufficient to disrupt the opponent's offence. Thus, the user can launch their own assault immediately afterward.
 * Narashijū (馴らし獣, "Taming the Beast"): The move involves twisting one's wrists whilst performing a thrust to unexpectedly intercept and force down the enemy's blade. Subsequently, the practitioner might block the opponent in this position.
 * Tawami (たわみ, "Deflexion"): The practitioner redirects the momentum behind the enemy's slash by guiding their blade to the side. This might disrupt the opponent's stance and serve as an opportunity to strike back.

Way of Aggression
Kōseidō (攻勢道, "Way of Aggression"): This ferocious and dynamic form of combat is the style of relentless offence. Notable features include a wide variety of circuitous swings and abrupt stabs performed with considerable speed. Additionally, numerous acrobatic manoeuvres such as leaps, sommersaults, backflips and spinning are used extensively to deliver unpredictable attacks and evade the enemy in equal measure. The form is not suitable for defence as its main focus lies on incessant offence. As a consequence of its intensity it is also not really fit for protracted combat.
 * Bōsekishi (紡績死, "Spinning Death"): The practitioner performs a series of circular slashes all the while spinning toward the enemy. As opposed to a more mundane approach toward offence this technique sacrifices some speed for the sake of less predictable trajectories and considerably increased impetus.
 * Kūshaku (収穫, "Harvest"): This technique is a sequence of powerful diagonal slashes. Ideally, the enemy is forced to withdraw with each consecutive strike due to the sheer power and the practitioner follows them relentlessly all the while maintaining the assault.
 *  (西瓜割, "Watermelon Splitting"): A strong, two-handed overhead slash which vertically cleaves an opponent in twain. The move renders the practitioner vulnerable during the delivery, although it boasts crushing power as a form of compensation. In addition, one may precede the technique with a leap to gain extra momentum.
 * Tsuki (突き, "Jab"): This simple technique is a stabbing motion delivered from a side. The defensive stance required to block such an attack is relatively awkward. Consequently, the user may follow up quickly with another attack to take advantage of this.
 * Tsūretsuna Ichigeki (痛烈な一撃, "Crushing Blow"): The move consists of a measured sally that transitions into a powerful two-handed strike. The technique's purpose is to suppress the enemy with display of superior strength and force them to lose ground.

Way of Attrition
Shōmōdō (消耗道, "Way of Attrition"): This style revolves around methodical infliction of various types of pinprick yet enervating wounds. Essentially, the form consists of numerous techniques that gradually impale, cut and shred the extremities of the opponent in order to methodically wear them down with the least effort possible. Seasoned opponents are aware which spots are prime targets for precision strikes, although even they might be surprised by such a consistently circuitous approach. The attacks are substantially less predictable on purpose, and consequently much more difficult to block. Furthermore, this method is highly useful against enemies of superior physical strength. Generally, this form might be employed to weaken a formidable foe in order to render them vulnerable to the more straightforward styles.
 * Benimaku (紅幕, "Crimson Curtain"): The practitioner abruptly slices the opponent's forehead. Ideally, the resultant wound causes bleeding that hampers the enemy's sight. In addition, if left unattended the injury may lead to dangerous blood loss.
 * Bikkoashi (跛足, "Lame Leg"): Since the guard is usually held high to protect the upper body legs are often left relatively vulnerable. The practitioner performs a swift slash intended to cut a tendon or muscle of a leg in order to decrease the opponent's mobility.
 * Handō (反動, "Backlash"): A violent counter strike where the sword-fighter repels the enemy and fluently inflicts a minor wound on them in the process.
 * Mamō (摩耗, "Abrasion"): The move is a crippling one rather than outright lethal. The user performs a broad circuitous slash intended to flay or even shred the enemy's body. The resultant wound is usually an extensive one. The main intention behind this technique is to cause severe pain and hinder the opponent's capacity to fight.
 * Mukōude (無効腕, "Numb Arm"): The off-hand of a sword-fighter is often relatively exposed. As such, the user targets the limb with an abrupt superficial strike to sever a major tendon. This might render a two-handed grip impossible and hinder the enemy's performance significantly.
 * Surudoi Senpū (鋭い旋風, "Razor Whirlwind"): An ostensibly harmless technique which is anything but. The fighter circles about the opponent and performs broad horizontal slashes. Rather than clash with the enemy's spiritual weapon directly, one aims to repeatedly inflict minor yet precise cuts with the tip of one's Zanpakutō. Major blood vessels and tendons are the usual targets of this technique.
 * Toge (棘, "Thorn"): This abrupt manoeuvre is inspired by the flowers. In short, the practitioner anticipates the enemy's action and cuts them unexpectedly as they are performing their own attack. The move can exploit a likely lack of defence and potentially disrupt the opponent's assault.
 * Yuruinigiri (緩い握り, "Loose Grip"): The practitioner slices the hand of their opponent in order to considerably hamper their performance or outright disarm them.

Way of Precision
Seimitsudō (精密道, "Way of Precision"): This form focuses on pinpoint accuracy. Most moves consist of swift thrusts and sallies. The intent of this form is to overwhelm the enemy defences with highly accurate attacks of miniscule footprint that repeatedly target vital spots. The bladework is fluent and extremely efficient. This is the most elegant approach of the various forms, and the one most likely to eliminate the adversary quickly. However, due to its relatively straightforward nature seasoned master swordsmen are often capable of defending from the strikes reliably enough to render the form slightly inefficient.
 *  (顎割, "Jaw Splitting"): Reminiscent of ' and ' the technique is a lightning-fast manoeuvre. The user draws one's sword, swings rapidly in a broad motion and then sheathes it back, all within a fraction of a second. This technique is abrupt and strong enough to cut down a lesser foe without them even noticing. The most notorious aspect of the technique is its delivery; particularly adept user is capable of casually walking past several enemies seemingly without performing any other action during the process, yet bifurcating all of them in extremely short order. Experienced swordsmen can usually perceive the manoeuvre, however, so that they are less likely to fall victim to the technique.
 * Haretsu (破裂, "Split"): This move consists of a swift two-handed slash aimed at an estimated weak point in the enemy offence. The combination of accuracy, focus, strength and speed allows to sever particularly durable obstacles, up to and including spiritual weapons.
 * Semu (剪, "Snip"): One of the particularly fast manoeuvres that also requires impeccable timing and precision. When the user determines patterns in the enemy defence with a significant degree of confidence, one might finally move to deliver a crippling blow. Thus the fighter approaches the enemy swiftly in a bold leap and swings their blade in a twisting arc that aims to simply pass by any potential defence and, usually, cut off a limb. The most frequent target of this technique is the opponent's weapon arm, although other limbs or the head are perfectly viable as well. Master swordsmen might be able to block the strike but due to its peculiar trajectory, are often left in an awkward position in the aftermath. This not only can prevent a quick counter strike, but may actually allow the user to perform a rapid follow-up attack.
 * Senshi (穿刺, "Puncture"): The technique is analogous to Haretsu, albeit it entails a measured and accurate thrust. The move requires even more precision and is intended to pierce a very specific chosen weak point. It is also relatively more difficult to defend from than the former due to the smaller footprint of the attack.
 * Yuiitsu (唯一, "Only One"): Provided a great degree of concentration and agility, the sword-fighter may perform a rapid sally toward their opponent as one is striking, pass by the attack narrowly and impale them through the abdomen or heart in short order. Usually, this manoeuvre is a lethal one, one way or another.

Way of Deception
Azamukidō (欺き道, "Way of Deception"): The most sophisticated form of combat that relies heavily upon elements of prediction and psychological warfare. Combat moves as well as feints and deceit constitute the form in equal measure. Misdirection, abrupt shifts of stance and winding slashes are par for the course, and no strike hits where it is expected to do. An integral part of this form is the ability to anticipate the reactions of the current opponent. Naturally, the more experienced the adversary the less effective the feints are. Regardless, in the thick of battle there is rarely enough time to properly consider the best course of action and reflexes often guide the reactions. Practitioners of this form are well-aware of those reflexes and aim to exploit the most logical responses. First, they trigger a specific reaction with one move and then immediately transition to another one that is intended to take advantage of that deliberately stimulated response. Out of the six forms azamukidō represents the pinnacle of swordsmanship. The style is the most difficult to master but also the most rewarding in turn.
 * Chishi Shissaku (致死失策, "Fatal Misstep"): A difficult deceiving manoeuvre. After a prolonged onslaught that fails to overcome the opponent's defences, the fighter can employ this technique to end the stalemate. The user purposefully interrupts their own assault with a fake misstep to lower the enemy's vigilance. The misstep is in truth a very controlled motion which allows the practitioner to swiftly regain balance and strike immediately afterward. Due to the nature of this manoeuvre it is highly dangerous to either of the combatants.
 * Dantō (断頭, "Decapitation"): This technique is performed with the use of . First, the practitioner manifests a Shunpo afterimage that seems to charge at the enemy frontally. In the meantime the fighter oneself leaps onward and strikes from the other side in other to exploit the distraction. Such a manoeuvre might allow the user to bypass the enemy defence altogether and swiftly behead the opponent with a single horizontal slash.
 * Kenkanmon (剣関門, "Sword Barrier"): This is part a swordsmanship manoeuvre and part psychological warfare. The user swings one's Zanpakutō in a continuous series of extremely fast movements in order to create the so-called "Sword Barrier". At a first glance it appears like a blunt display of prowess, or a defensive technique that manages to cover the front and both sides, though leaves the back exposed. In fact, both of these aspects are completely deliberate. The manoeuvre might discourage the opponent from approaching, impress them with the flawless delivery, or prompt them to attack from behind. The practitioner is fully aware of such effects and prepared to react accordingly. Demoralised enemies might be abruptly approached and torn apart in an instant. Those who dare attack, in turn, may find themselves impaled by an abrupt pre-emptive strike.
 * Kikokukiri (帰国切り, "Returning Slash"): One of the many misleading manoeuvres favoured by the practitioners of azamukidō, in fact it consists of two moves performed in rapid succession. The first one is an ostensibly straightforward sword strike whose lack of impetus prompts the blade to slide off the enemy's unexpectedly. Then, the fighter rotates rapidly and delivers the second attack, this time with much more power in order to overcome the surprised opponent.
 * Makikiri (巻切り, "Sweeping Slash"): A fairly simple technique which might nonetheless prove quite effective. The figher swings one's katana in a very broad meandering slash. Depending on the circumstances one is capable of readily adjusting the blade's trajectory. Consequently, the technique can be employed to cut down a number of lesser foes in one fell swoop, or perform an ostensibly awkward diagonal slash that is difficult to block due to the odd trajectory.

Styles
In addition to the six main forms of sword-fighting there exist some more specific types that take into account the potential peculiarities of one's style. These include wielding two bladed weapons simultaneously or the employment of reverse grip. Rather than distinct and complete forms of their own, these types are merely modifications to the existing forms that adapt and take advantage of the non-standard aspects. Consequently, these sub-forms of sorts are applied to the traditional forms and it is entirely possible to combine a couple of them to develop one's fighting style.

Way of Two Blades
Nihadō (二刃道, "Way of Two Blades"): Whilst Zanpakutō that exist as two separate blades in the sealed state are a rarity, the occurrence of twin blades within Shikai and Bankai is common enough to warrant an appropriate sub-form of sword-fighting. Dual-blade combat emphasises offence and speed. Whilst it is possible to use one weapon for attack and the other for defence, it is more frequent to perform the assault with the use of both. Such bladework is rather demanding and requires increased concentration, although it is proportionally more oppressive to the opponent.
 * Basami (ばさみ, "Shears"): This technique revolves around two simultaneous slashes performed from opposite directions to render the attempts to defend more difficult.
 * Fukujūsen (複縦線, "Double Bar"): The fighter poises both of their blades to intercept and block an attack. This defensive move is highly useful when confronting a physically stronger enemy.
 * Futatabime (二度目, "Second Chance"): First, the practitioner strikes with one sword. Provided the blade is locked with that of the enemy, even momentarily, one immediately swings the other blade to attack the exposed side unabated.
 * Kōshō (咬傷, "Bite"): The move consists of stabbing the enemy from the sides, with both blades thrusting at the same time. This kind of a "clenching" motion technically prevents successful defence with a single blade, but might be simply evaded.
 * Sōkiri (双切り, "Twin Slash"): A basic attack where the duelist swings two swords from the same direction to increase the momentum of the attack. Both hit at the same time for optimal effectiveness.

Way of the Inverted Blade
Taosahadō (倒さ刃道, "Way of the Inverted Blade"): Some practitioners tend to wield their weapons in a so-called. Oft-perceived as the mark of an amateur, some instructors discourage their adepts from employing this way of wielding a weapon due to the inherent vulnerability to disarmament. However, expert practitioners are more than capable of utilising this style in a highly flexible and dangerous fashion. This distinct mode offers a range of unique techniques and renders the traditional ones far less predictable.
 * Gyakutsuki (逆突き, "Reverse Thrust"): The move revolves around a sudden shift to reverse grip that allows the user to perform a backward stab with their sword. This technique might be best employed after a rapid manoeuvre about the enemy, or in order to anticipate an ambush. The attack exploits the element of surprise to impale the opponent unexpectedly.
 * Sashi (刺し, "Sting"): Performed in the reverse grip this move consists of a downward stab. Whereas the attack often leaves the practitioner susceptible to a counter strike, it is atypical enough to frequently score a hit that prevents any immediate response.

Way of the Phantom Blade
Maboroshihadō (幻刃道, "Way of the Phantom Blade"): One of the more peculiar styles of swordsmanship that relies on a specific kind of Zanpakutō powers that allow the wielder to swiftly disperse and/or restore the blade of their sword. Needless to say this is an uncommon style, and somewhat dangerous if employed without proper concentration or timing. However, in the hands of a skilled practitioner its unique properties render the style highly effective.
 * Maboroshikiri (幻切り, "Phantom Slash"): The practitioner swings the Zanpakutō at the enemy. The blade of the sword phases out to pass by the enemy's defence and materialises back afterward to strike one with impunity.
 * Okurebasenagarashi (遅ればせながら死, "Belated Death"): This technique consists of pointing the bladeless hilt of the sword at the enemy's body. Then, the user swiftly restores the blade to pierce through them.
 * Tsumazuku (つまずく, "Stumble"): The technique consists of phasing out the blade whilst in a dead-lock or when blocking a strong slash. The sudden disappearance of resistance causes the enemy to stumble which provides an excellent opportunity to strike back.

Way of the Transfigured Blade
Henbōhadō (変貌刃道, "Way of the Transfigured Blade"): Every Zanpakutō is a spiritual weapon that can express its full potential in stages, through the two releases: Shikai and Bankai. Frequently, the physical shape of a Zanpakutō changes from the default form of a sword to something potentially vastly different. However, sometimes the released state only switches laterally into a different type of melee weapon, whether a bladed one or not. In those instances the swordsmanship forms taught to a practitioner might still apply to their fighting style to an extent, albeit it is up to the individual to adapt them in a fasion suitable for the transfigured shape of their Zanpakutō. This involves the employment of special abilities to enhance one's performance as well.

Way of the Swift Blade
Kyūhadō (急刃道, "Way of the Swift Blade"): This advanced style of sword-fighting relies heavily upon creative use of. With the application of high-speed movement techniques to swordsmanship moves one is capable of achieving impressive feats. Skilled practitioners can perform multiple nigh-simultaneous strikes, attack so abruptly that only the most perceptive of enemies may notice the motion, or even appear to hit from a widely different direction than one might have expected.
 * Hankiri (反切り, "Opposite Slash"): First, the practitioner feigns a strike from one side. Then, one employs Hohō to abruptly change the trajectory of the blade and strike from the opposite direction. Swift enough users may appear to ignore the notion of direction altogether.
 * Karamae (から前, "From the Front"): A technique where the practitioner makes two slashing motions near simultaneously, one in front and one behind oneself. The attack behind takes place after the one in front but only the one in front is visible to the naked eye due to the speed of the technique, creating an invisible defense to catch those who would strike from behind unawares.
 *  (千枚卸, "Thousand-Page Wholesale"): The move entails a series of numerous extremely fast slashes that may shred the enemy in a matter of moments. Whilst the technique requires a considerable degree of focus it is highly difficult to simply block.
 * Warūrugi (剖う動, "Rend in Motion"): An attack from three directions that occur at the exact same time, created with such speed that the target is left unable to differentiate the miniscule time difference in each incoming motion making the practitioner appear to have literally struck from multiple directions at once. The swings are typically aimed at both flanks, as well as above the target so as to prevent them being able to escape from it naturally.
 * Warūrugi: Chōzōko (剖う動・彫像刻, "Rend in Motion: Statue Carving"): A more advanced variant of the Warūrugi technique, the user unleashes nine simultaneous slashes aimed at several vital points in order ensure the elimination of an opponent. As with the regular Warūrugi technique, Chōzōko is performed with such an immense degree of speed that all nine swings of the blade appear to occur as one solitary motion. Accounting for the added swings, this technique is even faster.

Way of the Enchanted Blade
Miwakunohadō (魅惑の刃道, "Way of the Enchanted Blade"): The other advanced style of swordsmanship, which involves the usage of to achieve remarkable feats. Practitioners who boast considerable skill in both fields may infuse their blades with Kidō, use them to channel certain spells or even utilise magic to alter or control the Zanpakutō in a number of creative ways. Whilst dangerous to practise, the effects of such a combination might be truly devastating.
 * Karyūnoha (渦流の刃, "Blade of the Swirling Current"): Hadō #57, is employed to control the user's Zanpakutō remotely. This way the practitioner might emulate telekinesis and perform various unusual feats. Potential uses include erecting a barrier of sorts with a sword swirling at great speeds, tossing the Zanpakutō at an enemy in a boomerang-like fashion or wielding it like one would in an ordinary manner, albeit exploiting the highly increased range and manoeuvrability.
 * Shokubai (触媒, "Catalyst"): This technique consists of channeling a spell through one's Zanpakutō. This might be done to bestow that spell with augmented power or additional properties.
 * Tenteki (点滴, "Infusion"): The practitioner imbues the blade of one's Zanpakutō with a Kidō spell. Thus, it is the Zanpakutō that receives a considerable boost and extra properties. This allows the sword to achieve a variety of otherwise impossible feats.

Spiritual Combat
The art of Zanjutsu focuses largely on pure swordsmanship. However, one should never forget that Zanpakutō is not a mere sword but a spiritual weapon, a palpable extension of one's will. As such, it boasts unique properties and is capable of feats far beyond what could be possible with an ordinary sword. High-level combat between spiritual beings is a matter of and resolve. Each Zankensoki skill is a different outlet for these aspects, weaponised for the sake of combat. Consequently, in the hands of an experienced and skilled user a Zanpakutō is capable of easily bifurcating mountains or piercing Kidō barriers, among many others.

Another vital matter is that Zanjutsu might refer to the use of a Zanpakutō as a spiritual weapon. This entails the employment of Shikai and Bankai. Whilst pure swordsmanship may or may not be applicable to the released states, these transformations often not only allow its further use but also unlock special abilities that can be utilised to supplement or outright augment the swordsmanship. Regardless, no matter its exact nature, a release is the true expression of one's powers. Because Zanpakutō is a tangible extension of a spiritual being the art of Zanjutsu serves as the most direct outlet to express one's potential.

Trivia

 * This article aims to elaborate upon a very broad and interesting concept that has received superficial treatment in the ' canon proper. The creator has been inspired by real life martial arts such as ' and , but also forms of lightsabre combat from Star Wars.
 * Various styles and techniques included in the article endeavour to explain and elaborate upon displays of Zanjutsu from the  canon in a manner consistent with the fictional universe. This involves the application of to perform, or the use of  by  to kill.