Weapon psychology

Shooting requires different qualities and skills from a person. But a proper state of mind and the ability to hold a weapon in your hands is not all.

For reliable shooting, you should enlist several other factors. The first is the absence of hand trembling. The second is an accurate eye. The third factor good muscular feel. This is both a sense of distance and a sense of movement. The fourth factor is the sense of the weapon, or the ability to sense its "soul" hidden deep inside.

From the point of view of the biomechanical system, there is you, the weapon, the bullet, the target. And only then do the shots ring out. Pressing the trigger is smooth, the breath is held... Of course, all this is a classic known to the whole world.

But how do you still succeed in shooting? To do this, you should first deep-hypnosis. Its formula is as follows: "I am calm, collected, act quickly, shoot accurately." The result of this installation will be accurate shooting, fast and efficient movement. The form of auto-suggestion may be different, as long as it suits you. Experience shows that it "works" perfectly if you repeat it regularly and at the same time internally tune in to success.

How to get rid of the "tremor" of the hands? There are two ways to do this: by using the old-fashioned, purposeful method of physical training, or by using the same self-coding message.

Let's take a closer look at purposeful work with hand tremors. It is very simple. You take a one and-a-half-to-two-kilogram dumbbell, apply a smooth scratch to its convex surface, then, lifting this training projectile on a straight outstretched arm, combine the scratch with any selected point and for a long time look as if through this scratch at the point, trying to keep the hand stationary. After two or three training sessions of 40-50 minutes a day, the result will affect.

Another interesting aspect of the art of shooting. If you shoot several times in a row let's say there are a lot of opponents and they are also armed you need to quickly change your position. This will help you move skills, including lower acrobatics. Using a few well-developed "bundles", you can spontaneously build free improvisations. An example is the following bundle: Weapons in hand. Quickly fire two shots from a standing position. Then do a somersault forward and sideways. At the same time, try to go behind some shelter. Immediately get up on one knee and make it two shots. Another somersault, after which you stay in the prone position. If you are doing this on a city street, it is convenient to use the wheel of a car as a cover, or the corner of a building anything.

From a prone position, make two shots. Then, slightly rising on your elbows, perform a roll roll from side to side. You make one or two more shots and with the next somersault rise to the stand. The proposed combination can be completed with one or two shots from the rack, if, of course, this can be done with the capacity of your weapon's magazine.

There are a lot of techniques and ways to move during shooting. Having worked out their components, you can go to free improvisations.

Now let's look at how to develop a sense of weapons. The weapon sense combines motor skills of high-speed shooting and sensory perception.

These components are inextricably linked by the fact that they determine the stages of training that complement each other.

At the first stage, the correct motor skills of weapon control are formed, which are worked out to the reflex level. This is an analysis of sensations of the internal state of the body, where the position of the body and weapons in space relative to the target is used as an auxiliary tool that accelerates the process of developing motor skills of high-speed shooting.

The second stage occurs when motor skills become sufficiently stable and do not require conscious control. This is the time of improving sensory perceptions. Vision, hearing, and touch are subject to the same task      to find and classify targets, as well as to determine the order and method of their destruction. At this stage, the formation of the "weapon sense" skill is completed.

"Weapon sense" is a skill that allows the shooter to predict the position of the hit point with a high probability, intuitively, on a subconscious level before the shot is fired. In other words, you consciously determine the point of impact and direct your motor skills through sensory perception of the weapon exactly as it is necessary for the bullet to hit the intended point. The weapon sense is also formed through muscle sensations and works on the "body-weapon" line. As you master the technique of high-speed shooting, the sense of weapons is manifested in the extension of this line by another link. It turns out a three-link line "body-weapon-target". But while searching for a goal, there is no time to think about the body, and the motor skill developed to the reflex level allows you to do this. Based on this premise, let us exclude the first link the "body" from the conscious level. It turns out that conscious control is carried out in the remaining two links "weapon-target".

 

Reaching this level makes it possible to abandon the strict requirements for compliance with the main stand and allows you to effectively fire from complex dynamic positions      in a jump, somersault, fall, on the run.

 

The use of all these skills is accompanied by the work of detecting and classifying goals. What we will discuss in detail now.

 

Invite your partner or assistant to walk around chaotically for a while, in front of you, behind you, and around you. Let it speed up, slow down, and sometimes stop altogether. You yourself must continuously monitor the movements of your partner with the barrel. Moreover, when it stops, the weapon also freezes; the barrel remains aimed at the partner. This is how you develop the muscular sense necessary to ensure that, when necessary, the barrel of your weapon is constantly pointed at the enemy, as if automatically following him. This usually does not take much time      just a few days, which, however, you should devote as much as possible to the development of muscle feeling.

 

For confident shooting in a relatively calm environment, when you have time to aim      let's say the situation does not force you to instantly draw your weapon and move quickly      a special form of autosuggestion is suitable for such shooting. You must tell yourself that your body is made of stone, solid granite; granite is your body. Nothing can shake you      you are immutable. In parallel, you get the feeling that your mind is also monolithic. At the same time, it is preparing for stress. The shot itself is a microstress, and it comes from the weapon. To deal with it correctly, you become an appendage of your own weapon. And in order for this to happen, you need to feel his soul.

 

In ancient times warriors animated their weapons: we talked to him, praised him, and asked for help... They believed that weapons were endowed with a special spirit-a mind that helps in battle. Modern weapons are disproportionately more complex and effective than what they were. But a similar phenomenon was encountered in our fighters both in the Afghan and Chechen wars. The literature is full of descriptions of conversations between fighters with their weapons. So why don't we animate it, if only to better believe in it?

 

It will be very good if you give your weapon a name. This name should be sufficiently respectful but, at the same time, convey a shade of his subordination and your seniority. It is appropriate to refer to your weapon as a Junior comrade. After all, it is you who control the weapon, not you.

 

When you hold a weapon, you must feel it as a part of you. You're just telling yourself it is so bright and deep that they begin to perceive their hands when they're without a weapon, as something unfinished. So, weapons are a natural extension of your hands. Your identity is linked to your weapon.

 

Preparing your psyche for extremely accurate shooting, you should feel that you are the Lord of life and the Lord of death. For the lives are on your index finger, which gently touches the trigger.

 

It is in this state of mind that you will be able to shoot extremely accurately, because by staying in it, you raise the archetype of the warrior in yourself. What it is, or what it is to a greater extent-it depends on your inner attitude, your sense of self. Your capabilities have increased many times. You are the master of life and death. You are not only your body and soul, but also your fused weapon. Because of this, the responsibility for your actions has increased many times. The price of a mistake will be expensive, especially if it concerns the use of weapons in self-defense rather than fighting. Therefore, the order and rules of use of weapons you should know perfectly, and strictly follow them, taking into account the current situation and the degree of threat.

 

You are a God of war and at the same time a complex combat system, where hands and weapons are only transfer links. The deadly bullet is also only a link, but the last one... You make a willful effort, and the bullet flies... Feel the indissoluble unity of the first and last links. All the mistakes happen due to the fact that somewhere breaks this chain.

 

When you animate a weapon, you should not treat it as a self-sufficient living entity with its own mind; you should feel it as a living part of yourself. You and the weapons complement each other, you are one. Without weapons, you are not completely you. It has no soul without you.
To prepare for a slow, accurate shooting, you can use this formula: My body is a steel beam embedded in the ground; a steel rail is welded to it, unshakeable and immobile. For the same purpose, you can use a figurative representation of your own body, carved out of granite. In General, any form of self-encoding will do. But it should be taken into account that you are encoding not only yourself, but also that part of your personality that "possessed" the weapon and is its part, which is itself a weapon. You also encode it. In this case, you can count on accurate shooting.

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