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Matsuri Da!! Yondaime Taiko no Tatsujin: Doka! Taiko no Tatsujin: Go! The old feat cannot be one that was used as a prerequisite for another feat, prestige class, or other ability.
A brawler can only change one feat at any given level, and must choose whether or not to swap the feat at the time she gains a new bonus combat feat for the level.
She does not need to use two different weapons to use this ability. At 3rd level, a brawler can select one combat maneuver to receive additional training.
In addition, the bonuses granted by all previous maneuver training increase by 1 each. This bonus increases by 1 at 9th, 13th, and 18th levels.
These bonuses to AC apply against touch attacks. She loses these bonuses while immobilized or helpless , wearing medium or heavy armor , or carrying a medium or heavy load.
At 4th level, once per day a brawler can unleash a devastating attack that can instantly knock a target unconscious. She must announce this intent before making her attack roll.
Each round on its turn, the unconscious target may attempt a new saving throw to end the effect as a full-round action that does not provoke attacks of opportunity.
Creatures immune to critical hits or nonlethal damage are immune to this ability. At 10th level, the brawler may use this ability twice per day; at 16th level, she may use it three times per day.
At 9th level, her unarmed attacks are also treated as cold iron and silver for the purpose of overcoming damage reduction. At 12th level, she chooses one alignment component: chaotic, evil, good, or lawful; her unarmed strikes also count as this alignment for the purpose of overcoming damage reduction.
At 17th level, her unarmed attacks are also treated as adamantine weapons for the purpose of overcoming damage reduction and bypassing hardness.
If the weapon normally deals more damage than this, its damage is unchanged. This ability does not affect any other aspect of the weapon.
At 16th level, the brawler can as a standard action perform an awesome blow combat maneuver against a corporeal creature of her size or smaller. Unlike the Awesome Blow monster feat, the brawler can be of any size to use this ability.
At 20th level, the brawler can use her awesome blow ability as an attack rather than as a standard action. She may use it on creatures of any size.
If the maneuver roll is a natural 20, the brawler can immediately attempt to confirm the critical by rolling another combat maneuver check with all the same modifiers as the one just rolled; if the confirmation roll is successful, the attack deals double damage, and the damage from hitting an obstacle if any is also doubled.
When a character reaches the 20th level of a class, she gains a powerful class feature or ability, sometimes referred to as a capstone.
When a character reaches 20th level in this class, the following new ability can be selected instead of the standard 20th level class ability which would normally be gained.
In some cases, a capstone specifies what ability it replaces. Clerics and wizards can receive a capstone at 20th level, despite not having one to begin with.
As this type of player is not dominant in the sport, or even close to being average in terms of per capita representation, the length restriction seems even more unnecessary.
Despite Prince's attempt to market longer length "longbody" rackets in the s, standard length remains the overwhelming choice of players, further negating the argument in favor of the length restriction.
Longer rackets were introduced by Dunlop . Until the s, rackets weighted at "medium" were produced.
The "medium" weight is heavier than any of the rackets produced since it was discontinued by companies. Many professionals added weight to their rackets to improve stability.
Many continue to do so. By contrast, Andy Roddick surprised many when he said he used a stock Pro Drive series model, series of racket which was light when compared with the rackets used by most top professionals.
In both recreational and professional tennis, the trend has been away from heavy rackets and toward lighter rackets, despite the drawbacks from light rackets, such as increased twisting.
Lawn tennis rackets originally flared outward at the bottom of the handle to prevent slippage. The rounded bottom was called a bark bottom after its inventor Matthew Barker.
But by , this style became superfluous. This can give the perception that the racket produces shots with more power, although this is complicated by the typically slower stroke production.
Higher mass typically involves a slower swing but more energy to execute the swing. More mass also provides more cushioning against ball impact shock, a source of injuries such as tennis elbow.
However, high racket mass can cause fatigue in the shoulder area. Typically, it is safer for the body to have higher mass. More mass, additionally, provides more stability.
It makes the racket more resistant to twisting forces and pushback. The drawbacks are that heavier rackets have lower maneuverability reducing reaction time and require more energy to move.
As a racket gets heavier, the player finds it increasingly difficult to do fast reaction shots such as quick volleys and returns of serve.
However, the additional mass can help with return of serve, in particular, by making the racket much more resistant to twist from a high-powered service.
Light rackets have the additional drawback of making it easier for beginning players to use inappropriate wrist-dominant strokes, which often leads to injury.
This is because poor stroke mechanics can be much easier to produce with a lightweight racket, such as in using one's wrist to mostly swing the racket.
An extremely typical mistake beginning players make is to choke up heavily on the racket to try to compensate for twist from a light racket, as well as too high racket angle upon impact and use the wrist too much.
The only professional well-known player to have had success with a strongly choked-up grip is Zina Garrison.
Head size plays a very key role in a racket's performance characteristics. A larger head size very generally means more power and a larger " sweet spot ".
This is an area in the string bed that is partially more forgiving on off-center hits and which produces more ball-reflective power from string deformation, known as the trampoline effect.
However, large head sizes can increase twisting, which makes off-center hits more difficult to control and can reduce a player's overall power production due to the playing compensating for the extra inherent power, typically with stiffer strings to reduce the increased string deformation of large heads.
A smaller head size generally offers more control for many shots, particularly the service and groundstrokes aimed near the lines, but can lead to more shanks wild misses, from hitting the frame or missing the sweet spot.
This drawback is most common for professional players using single-handed topspin backhands, as well as for recreational and aged players at net.
Shanking due to small racket head size is typically exacerbated by racket weight, which slows the reaction time, as well as, to a lesser degree, the racket's balance point.
The WEED company, founded by Tad Weed , specializes in producing very large rackets, primarily for the elderly market. Rackets that are moderately higher in power production, moderately lower in weight, moderately larger in size, and which typically possess a slightly head-heavy balance are often called " tweener rackets.
Perhaps the last professional to use a standard-size racket in professional tennis was Aaron Krickstein , known for the strongly-contested match against Connors at the US Open.
He used a Wilson Ultra-II standard-size graphite racket also used in the s by the hard-hitting teen Andrea Jaeger.
The first oversize, the fiberglass Bentley Fortissimo from Germany, was praised by racket designers but was considered too large to be taken seriously by the small number of players who were exposed to it.
The head-light balance point is rarer in professional tennis than it once was, as the sport has converted to larger-headed rackets, stiffer rackets, stiffer strings, more western grips and accompanying stroke production, and more topspin.
The head-light balance point is most optimal for the serve and volley style with a continental grip. Serve and volley is no longer a viable option for nearly all professionals as the mode of playing for most points in a match.
Head-heavy rackets became popular, mainly with recreational players, primarily with the introduction of the Wilson ProFile widebody racket.
The head-light balance makes volleys and serves easier to produce, while groundstrokes are less stable. The head-heavy balance makes groundstrokes more stable, which typically increases the player's comfort for swinging harder to add power, but makes serves and volleys more cumbersome.
A head-heavy balance also puts more stress on the elbow and shoulder. They do not, however, reduce impact shock significantly, so they are of no safety value.
Dampeners come in two main types. The first uses the two central main strings to hold it in place. The second is sometimes called a "worm" and it is woven between many of the main strings.
Dampeners are nearly always placed very near the bottom of the racket string bed. As rackets have become lighter, stiffer, and larger-headed, the professional game has moved, basically completely, from softer and more flexible string materials to stiff materials.
This is, in large part, to tone down the additional power potential of the "modern" rackets. However, it also is related to the tendency for different string materials to move out of place when subjected to heavy topspin strokes.
Polyester is the string of choice today because of that resistance, despite its increased stiffness harsher feel and more aggravating for the joints and reduced tension-holding ability versus a string like natural gut, which excels at that.
The top professionals of the s and earlier, despite having access to stiffer materials such as nylon , nearly always chose to use the very flexible natural gut instead.
String bed stiffness can be increased by using stiffer materials, such as kevlar and polyester , by increasing the density of the string pattern, and by stringing with a higher tension.
Racket makers and players have experimented with very dense string patterns and very "open" patterns, beginning with the Snauwaert Hi Ten, which had a pattern with as few as 12 mains and 13 crosses.
Doubles great Mark Woodforde used one of them. String choice, both in thickness and material, string tension, string pattern, and string pattern density can have a very large effect on how a racket performs.
A small number of them were made of metal, such as a s racket by Dayton. It was popularized by the top American player Jimmy Connors and was also, prior to Connors using it, by Billie Jean King in her early career.
Many players said it lacked control but had more power, when compared with wood frames of the period. Connors used the rarer "firm" model that had additional throat welds to increase its stiffness.
In Spalding launched an aluminum racket, called The Smasher. Aluminum, though lighter and more flexible than steel, was sometimes less accurate than wood.
The biggest complaint, however, was that metal rackets caused strong cases of tennis elbow, especially the kind that had holes for the strings directly in the frame, rather than using an external wire wrapper, as in the T Because of that drawback in particular, most of the top players still preferred to use wooden frames.
By , aluminum construction improvements allowed for the introduction of the first American "oversized" racket, which was manufactured by Weed.
Howard Head was able to obtain a broad patent for Prince, despite the prior art of the Bentley Fortissimo the first oversize, made in Germany of fiberglass and the Weed.
The patent was rejected by Germany but approved in the USA. Fairly quickly, midsize frames began to become the most-used frames in the pro tours.
Martina Navratilova popularized the midsize graphite racket, with her wins using the Yonex R-7, the first midsize graphite racket made by Yonex.
Nearly at the same time, however, she said the "jumbo" rackets midsize included should be removed from the sport for making it easier.
She said she would use them only because other players could, as they were tournament-legal. Fewer players chose to use oversize rackets, and some switched to midplus frames after their earliest career for more control.
Fiberglass frames also had a brief period of limited popularity, making fewer inroads among top players than aluminum.
Also, the earliest composites, such as the Head Competition series, used by Arthur Ashe , were made without graphite. These were more flexible than a typical early graphite composite but stiffer than wood, fiberglass, and aluminum.
In the early s, "graphite" carbon fibre composites were introduced, and other materials were added to the composite, including ceramics, glass fibre, boron, and titanium.
Stiff rackets were typically not preferred by most players because of their familiarity with the comfortable softness of wood.
These early models tended to be very flexible and not very powerful, although they were a power upgrade over wood and metal rackets.
Wilson created the Jack Kramer Pro Staff, the graphite version of the wood racket of the same name extremely popular in the late 70's and early 80's.