So here’s a quick run down of how to strengthen your clinch game by using
turns.
Basic idea: Use the left stick to
turn your opponent whilst in the clinch. This is extremely useful for setting up throws, transitions, or pulling false denials out of your opponent.
Take a look at that second GIF. After attaining the over/unders, I immediately fake an underhook then
turn him to my right. I then commit fully to the double underhooks, before performing
two consecutive turns: one quick back step, then a left turn. At which point, I complete the slam.
What’s going on here is rhythm manipulation. Now let’s analyze that second GIF a little more deeply, step by step:
A. The
very first thing I did when I entered over/under, is I faked an underhook. This is “priming” my opponent - an underhook fake almost always precedes a second underhook fake, or a hip toss. My opponent’s just waiting on some visual cue to react to. By making a sharp turn to my right, I provide him with that visual cue.
Now, whether this visual cue actually causes him to input a denial or not, isn’t so important. That would be great, of course... but what this “turn”
really accomplishes, is it makes the entire situation 33% more complicated for him, by giving him 3 things to think about as opposed to 2. The rhythm is a
little more confusing. In this case, it was enough for me to immediately achieve a full double underhook, unchallenged.
Another important thing to consider about this first turn, is the way I handled the exact same position earlier in the same match (see the first GIF). I found myself in the exact same position, and performed the exact same underhook fake followed by a turn. But in the first sequence, I used the turn to gain a hip toss.
So this time, after the fake and turn, I figured he’d be thinking “hip toss”, which is why I went for the underhook. I figured correctly.
So always keep those types of things in mind... if you’ve established somewhat of a rhythm in previous sequences, breaking that rhythm is always a good thing to do, and even very rudimentary, “white belt” tactics can be effective if you’re unexpectedly breaking rhythm.
B. After attaining the double underhooks, I perform a backstep, before performing a left turn. This is another means of rhythm manipulation. My opponent may be picking up on something by now: turns always precede fully committed transitions. If I was to simply turn him, then go for a slam, I probably wouldn’t have gotten it. I already got away with it twice and attempting it a third time would be reckless on my part.
So what I do here, is I break that rhythm. He anticipates a slam after a step/turn, so what do I do? I give him that little back step he’s waiting for, but then I DON’T slam. Instead, I perform
another step, this time a sharp left step, before completing the slam.
My hope was that either
A) The second step would provoke a false denial, anticipating a transition/slam. Because earlier, my steps/turns always preceded a transition/slam.
B) The unexpected nature of the second step would create a “rhythm” so foreign to him, that I could simply go for a slam uncontested.