Rich Patterson

Manager(s):

General Moveset:

Having played heel his full tenure as the masked Grendel in both Monuments Professional Wrestling and Wilderness Wrestling League, Rich Patterson’s moveset, regardless of his standing with the audience, is of that mold. It would be easy to assume, given his size and attendant power, that his in-ring strategy is to pulverize his opponent to glacial till and from till to flour — and it is. Worth noting, though, is that he is a clean, deliberate worker (“Slow is smooth, smooth is fast”); in other words, he has a body, but he is a brain.

As such, two basic bylaws inform his style:

Play it as it lies; e.g., if his opponent is supine on the mat, he will work them over on the mat (as opposed to setting them upright in order to slam them to the mat again); or if he finds himself on the top turnbuckle, (exclusively via having been placed there by his opponent), he will perform a “safe” move, like a flying shoulderblock to a standing opponent or a flying hammerfist to one supine.

No pyrrhic victories; i.e., he will avoid, with exceptions for momentous occasions, performing moves that require him to hurt himself to some extent or otherwise make himself vulnerable, like certain suplexes, or such moves that end with him defenseless on the mat; when on offense, he wants to be upright or in a position of control as often as possible.

What follows is an incomplete list of common moves. For a tl;dr summary, Patterson relies on abrupt high-impact moves — very commonly in the form of -breaker variations — strikes, and a lot of work in the corners.

× endless array of -breakers (back-, neck-, knee-, shoulder-, gutbusters, etc.), including “hybrids,” such as:
+ + + vertical suplex -> backbreaker;
+ + + hair-pull -> over-the-knee neckbreaker;
+ + + and so on;
× all manner of body slams;
× all manner of throws and takedowns, especially from judo, plus:
+ + + certain of these on an opponent set on the top turnbuckle (e.g., snapmare, etc.);
× repetitive slamming of the opponent’s head*, knee, or arm into the mat;
× small-joint manipulation;
× stress-position rest holds (e.g., camel clutch, crossface);
× leaping attacks in the corner (e.g., splashes, running back-elbows, running high knees, etc.), including sequences, such as:
+ + + corner splash -> headlock takedown;
+ + + and so on;
× stationary attacks in the corner (e.g., shoulders to the gut, stomps, general beatdowns, etc.);
× heavy strikes (e.g., palms, forearms, elbows, knees, headbutts) while standing, in mount, or otherwise;
× and more along these general guidelines.

* Patterson will finish an opponent by slamming their head into the mat as many times as required to put them out. This is blood-feud material, but it should be used regularly at a less-violent level.

Re: genuine finishers, Patterson has two:

The heel hook is often deployed as a defensive measure. There is no single way to apply it. There are, of course, ways to escape it — rope-break included — but more often than not, once in, it’s in.

And Grendel’s Mother, his diverse Polish hammer. There is no showmanship behind this move — no big wind-up or telegraphing. It is sudden, brutal — to the face or the back of the head. To be used after whipping an opponent to the ropes; or as he himself runs the ropes; or in the corner (see: Helluva Kick); or as a counter to a top-rope move; or, plainly, just out of nowhere.

Re: strengths and weaknesses:

+ a semiprofessional rock climber, possesses tremendous functional strength, balance, and endurance;
+ excellent tempo-setter;
+ goes all-out to sell for his opponent;

- must adapt to PRIME’s level of competition;
- isn’t slow; isn’t fast;
- master of one, not a jack-of-all-trades.

For more information or clarification, please DM.

Entrance Description:

Lights out.

Here we go.

Wall of sound. Moving around the arena like a shockwave clear-cutting a city skyline.

Strapping Young Lad’s “All Hail the New Flesh.”

The hi-hats crash — guitar unyielding — drums pneumatic. A wordless cry comes screaming out of a vacuum, and then:

# HEY, MAN, I’M GONNA FUCK THIS SHIT UP
# NO FEAR, NO COMPROMISE, I WANT IT ALL
# I WILL NEVER BE AFRAID
# I’LL DIE FOR WHAT I BELIEVE

Suddenly the lights are up and blinding. Rich Patterson hits the stage, one side and then the other, each a moment for himself, right arm held aloft, pale eyes gazing into the audience as though he’s taking inventory of every fan, every sign, every flash of a camera.

As Vince Howard announces his vital statistics over the heavy percussion of the song, Patterson tramps down the rampway, meeting a few outstretched hands with his own, up the steps to the apron, through the ropes, and into the squared circle.

# AND ALL YOU ARE IS ALL YOU ARE
# I’M SO SORRY FOR YOU — SORRY
# SO ALL HAIL THE NEW FLESH
# CUZ IT SUITS ME FINE

He heads to the far corner and shakes the top turnbuckle, backs into it, and settles there, awaiting the sound of the bell.