STUNNER! THE STUNNER! 1,2,3, IT'S OVER! Something we've heard 1000 times before (in some variation) and will likely never get tired of hearing. Whether it's the Stunner, the RKO, the Pedigree or even the Atomic Leg Drop, finishers have always fascinated me. To see wrestlers use a variety of moves before determining one specific hold/strike/etc. in particular will be the Coup De Grace (pun intended) is just the most intriguing shit to a nerd like me who obsesses over the mechanics of wrestling. When watching a match or a YouTube move compilation, one starts to wonder: Why is THAT the end of the match? Where did these epilogues to such campy, machismo-fueled stories come from and how did they evolve? What do they look like? What's the difference between the good and the bad, and why the hell am I asking you all of this?
With that being said, I'd like to take a deep dive into the entire ethos of finishers. What their history is, their mechanical components and whether this is 100% subjective or there's an instance of a particular move being objectively perfect or absolute trash. So allow me to beg your indulgence, as I'm about to go balls deep (or at least attempt to) in the nerdiest way possible.
The History
To really understand the full components of a finisher, it's absolutely necessary to trace their lineage. And given I'm on Steven Spielberg levels of historical nerdiness, you can imagine I'll take great pleasure in this section. In the days of yore, wrestling finishers were never anything particularly theatrical or mesmerizing. For the most part, they were simple holds done in the tradition of Catch Wrestling, innovated in late-19th century England. From there, it was adapted further when traveling carnivals relied on such grapplers like Farmer Burns, Frank Gotch, George Hackenschmidt and the like to wow their patrons with a variety of brutal holds that felt realer-than-real for the time. Whether it was Hackenschmidt's bearhug, Evan "Strangler" Lewis' neck yoke (later known as the rear naked choke) or Ed "Strangler" Lewis' (no relation) side headlock, fans were treated to the most realistic grappling possible.
In other words, the crux of wrestling finishers at the turn of the century were basically the culmination of men in their underpants squeezing each other REAL HARD until one of them gave up. They were very methodical and plodding, and were definitely of their time. But times change, and with that comes a new audience craving something for something new to really dazzle them. The impetus, as far as American professional wrestling goes, is none other than the man himself Lou Thesz.
When you're heralded as one of the greatest to ever don a pair of tights and lace up a pair of boots, you've got to be an absolute game-changer. Thesz accomplished this in spades, innovating some of the unique finishers of the time, and what would later become commonplace staples of professional wrestling. They include: the powerbomb, the STF (yours still sucks, John) and the aforementioned Thesz Press (it eventually became more of a setup as opposed to a finisher, but important for its time nonetheless).
And while there were numerous innovations to be had in American professional wrestling, something else was brewing across the border. In the world of Lucha Libre, grapplers from all parts of Mexico were injecting an extra dose of speed and agility into wrestling, coming up with some of the most unique finishers in wrestling, influencing the business in both technical and high-flying aspects. For the first part, I'd be remiss not to mention one of the influential performers in all of professional wrestling, and that man is Gory Guerrero.
A feared heel technician in the world of lucha libre, there were few as innovative and influential as Guerrero. Proof of this lies within two particular holds: the La de a Caballo and the Gory Special. Literally translated to "on horseback," this move would come to be known as the Camel Clutch by way of The Sheik, and as such became the trademark for many a wrestler with a Middle Eastern gimmick. As for the Gory Special, it was certainly a unique move for the time; working the opponent's arms, shoulders and back simultaneously, this submission move has since utilized and adopted in various ways, be it a facebuster, a piledriver, a powerbomb or even a flatliner.
As far as lucha technicians go, I'd be remiss if I didn't mention one of Guerrero's contemporaries Rito Romero. Innovating a double leg-hook/double armbar combo dubbed "La Tapatia," it would come to be known as the Romero Special, utilized by many a mat technician, be it Bryan Danielson/Daniel Bryan or Jushin Thunder Liger, among others. There were many other technical innovations from lucha libre (La Magistral and the Dos Caras Clutch in particular), but if you're like me, you remember the high-flying aspects of lucha libre the most. As for the man who popularized it? Well, you'll see him below.
The man, the myth, the legend. Mil Mascaras was certainly ahead of his time and then some; while known more as a mat-based technician in his native Mexico, he became known as a high-flying innovator, dazzling Japanese crowds with his Plancha, which came to be known as a diving crossbody, utilized by many a wrestler from there on out. And much like how Guerrero was the impetus for technical lucha innovation, Mascaras was the impetus for high-flying innovation. We see this with Mando Guerrero's moonsault, La Fiera's frog splash and Huracan Ramirez' hurricanrana, among many others.
So at this point, you'd probably figure I'd be covering Japanese Puroresu here. Well, to be honest, I was somewhat wary of it. Reason being is I've always felt the puro style as a whole was much more influential to modern professional wrestling as a whole than the singular finishing manuevers. Drawing influence from various martial arts (judo, jiu-jitsu, karate, etc.) as well as traditional American wrestling, most finishers were just a hard suplex, simple submission or a quick strike after beating the tar out of each other for some 30-40 minutes.
And that's where Riki Choshu comes in. You see, one of the most heralded debates the IWC has is who performs the sharpshooter better: Bret Hart or Sting? Sting being the one to introduce it to American audiences, Hart being the one to deepen the popularity. But we wouldn't be having this conversation had it not been for Choshu. Dubbing it the Sasori-Gatame, this unique combination of a boston crab and a cloverleaf was unique for its time, and would later become one of the biggest game-changers in wrestling history. Without it, some of the most memorable events in wrestling history may not have happened (or would've happened differently): the Hart/Austin double turn at WrestleMania 13, the Montreal Screwjob (the starting point of the Attitude Era) and the birth of Corporate Rock. While not I'm saying it was the sole reason for any of these things happening, it was nevertheless an important piece of storytelling and gave us a special aesthetic of wrestling lore.
So where are we at now, as far as wrestling finishers are concerned? It's really a unique combination of styles. We have English Catch, American traditional, Mexican Lucha Libre and Japanese puro, all intertwined in a bizarre web that somehow meshes all of these styles in various ways by various performers. But now that we have the history intact, let's pick apart a finisher's anatomy how a college biology professor picks apart a fetal pig: slow, methodical and if you don't have the stomach for it, you may vomit. Probably not, but if you're still reading this, you're just as much of a nerd as I am about this shit and you'll most likely stick around to see where it goes. And for that, I thank you.
Finisher Anatomy Part I: Practicality
When determining a finisher, one really needs to consider the following: Is it a move you can do well? And is it a move you can do well on any opponent, regardless of size? While there are some finishers that look great and are performed well, there are certain finishers which can really only be done to opponents of a similar size (e.g. Petey Williams' Canadian Destroyer); as a result, the aesthetic overweighs the practicality. While I love moves like these, I can't honestly be convinced it could take down someone the size of Kane/Undertaker/Big Show/etc., especially if you're not of comparable size/stature.
This why moves like Triple H's Pedigree (pictured), the Stunner, the RKO, the Rock Bottom, etc. all superbly work as finishers. Not only is it a move they're well-versed in performing, it's something they can perform on virtually any opponent they face, and in no uncertain terms be the deciding factor towards victory. This also holds true for top-rope moves, albeit with a caveat. In this situation, it's all about what you can do beforehand. As long as you can believably get your opponent down on the mat, be it a series of well-placed strikes, crisp throws or a hearty slam, then there's no reason to why you couldn't finish off an opponent with a moonsault or a frog splash or some other flippy-do whathaveyou we all know and love.
Part 2: Impact
Though it's blatantly obvious, it bears repeating that regardless of what your wrestling moveset looks like, your finisher needs to be the strongest-looking one out of the bunch. For example, if you use a lot of springboard/top-rope attacks and roundhouses regularly throughout your match, your Coup De Grace (this time, pun unintended) has to be something more than just a superkick or a tornado DDT in order to really provide a cathartic effect. Case in point, the video above. PAC (formerly known as Neville in the WWE), and many wrestlers similar to him, has a vast moveset that begs for a breathtaking finisher; using a corkscrew shooting star press dubbed the Black Arrow (formerly the Red Arrow), PAC is able to distinguish this move from the rest of his repertoire as the end-all, be-all of a match.
On the opposite end of the spectrum, we have wrestlers employ size over innovation as a means to an end. I'm talking about guys like Diesel, Big Show, Kane and the Undertaker (pictured above). Their moveset is often times limited, making up for the lack of flash with sheer brutality. We see this Taker/Kane/Big Show's chokeslam, Taker & Kane's tombstone and Diesel's Jackknife Powerbomb. Admittedly it's easier for wrestlers of this size to come up with a truly impactful finisher because of their typically limited moveset. \
Regardless, every wrestler or wrestling fan knows, or at least should know that you need a finisher which provides the best epilogue to the story. Whether it's by size or innovation, a finisher needs to give us some twisted form of closure. Simply put, if what you're doing at the beginning or middle of the match is more cathartic than the ending, you're doing it wrong.
Part 3: Innovation
Another important factor we need to consider for what makes a good finisher is the overall aesthetic. If it was silhouetted, would we able to recognize it? There are plenty of finishers I could list, but for now, I'll just talk about Kenny Omega's One-Winged Angel. A wrestler with already a very unique moveset, he managed to craft a move that stands alone from the rest. Clean, yet brutal, and it looks cool; it pretty much checks all of the boxes. You see, any jabroni can take a superkick or a DDT and call that their Coup De Grace, but it takes a wrestler with enough panache to come up with a move that people can really call their own. This is where Omega, and many other wrestlers like him, thrive.
Though I'd be lying if I said this was the most important part of a finisher. While necessary, there's a fine line when it comes to finisher innovation. Much like my writing process, creativity should never be forced; when it is, it over-complicates the story you're telling.The reason why the One-Winged Angel works so well is that it's a compromise of sorts. It separates itself from the rest of the field, yet it doesn't alienate viewers from the overall story being told in the ring. Like a fine digestif, a finisher should be bold, distinguishable and flavorful. You want to leave a meal feeling impressed and satisfied, but not overstuffed.
Examples of where innovation may be overdone come in the form of Brian Cage's Weapon X (a Gory Special/Flatliner combo) and whatever the hell Marty "The Moth" Martinez had for a brief respite (some sort of double-arm flipping codebreaker? yeah, I'm pretty sure that's what it was). These are moves that look cool and unique in their creativity, but the amount of setup required for it can leave some turned off by the move; it leaves them feeling as though creativity and innovation overtook general impact. As a result, the finish can produces somewhat of an empty feeling.
But then again, this whole beautiful mess is entirely subjective, so not everyone's going to be impressed. So, for better or worse, what you choose to get the "1-2-3" or the tapout should stand head and shoulders of whatever else; something that truly deserves to be put before the "FIN" title card.
Part 4: Escalation
And while we're taking a look into the very essence of a finisher, we have to discuss versatility. If you really want to make crowd pop, a finisher should be styled in a way that can tell a story from multiple angles. It should have the ability to signalled, reversed in various ways or appear out of nowhere. Judging by the thumbnail above and the previous strands of words I typed, I've made it blatantly obvious the next finisher I'm going into detail on.
Randy Orton's RKO has stood the test of time and serves as a gatekeeper for finisher and meme lore, and arguably the biggest reason for this is its incredible malleability. Orton bends and twists the RKO in order to suit whatever in-ring narrative is being told. It can be long and drawn out or snapped off in an instant as well as easily reversed/used as a reversal easily; it checks off all the boxes of versatility, and as a result, it's timeless. Along with Sweet Chin Music, the Stunner, the Sharpshooter and a plethora of other examples, finishers like these are an excellent example how to provide the ultimate catharsis for any match. In order to best tell an in-ring story in any situation, finishers need to be fluid and free-forming.
Part 5: Character
This one's going a little tough for me to go into, as I could either make this one short and sweet or as a detailed as humanly possible. Quite honestly, it's the most important, fundamental part of a finisher. If it doesn't reflect who you are and what you do as a wrestler, then why even bother? From the days of yore to where wrestling is now, this has been truer than practically any other tenet of "How-to" wrestling lore.
But how, you may ask? I will tell you! One such example is Bret Hart and the Sharpshooter; being such a heralded technician, this intricate, painful-looking submission is a direct reflection of that (insert Kurt Angle, *Redacted* and Zack Sabre, Jr here as well). And from technical to high-flying, we have Rey Mysterio's 619. Flashy, quick and innovative, it portrays him as a wrestler better than the rest of the moves in his arsenal: as a plucky, high-flying babyface who uses his speed and agility to overcome his larger opponents. And if we're talking about size-dependent powerhouses, we have to mention Diesel/Kevin Nash and his Jackknife Powerbomb; given you're being dropped back first up from 7 feet in the air, it's a finisher that perfectly reflects his status as a looming giant.
And you might think the more eccentric the gimmick/character, the harder it is to find finisher that best reflects. Consider Kane; a demonic, single-minded entity born of violence and vengeance, the Tombstone Piledriver and the Chokeslam (much like The Undertaker) are perfect mirror images of the cartoonish character he portrays. Kane, Taker and several other examples that I'm for whatever reason drawing a blank on are proof that even with a silly gimmick, there's always a finisher to perfectly reflect it.
The Line Between Good And Bad Finishers
The history. The anatomy. As far as the discussion of finishers, what else is left? As much as I dread to dwell on it, I have to bring up what makes a bad finisher. Because what good is discussing a sect of popular culture if you don't take at least a small modicum of time to shit on things other people like, am I right?
There are finishers that meet (at least in some aspect) the community standards of what a finisher should be but fail to live up to the other standards. For example, The Worm. Employed by Scotty 2 Hotty, this theatrical displaying of a falling throat chop is almost universally derided by the IWC. And in all honesty, I can't say the criticism is without merit. Technically speaking, it doesn't look like the most impactful move and it doesn't really seem like something which you could end a match with. However, it's unique and it fits the character; plus, it can pop the crowd. There's a similar finisher I'm about to mention, but before I do, let me prep my apocalypse bunker.
Aaaand, we're good. Much like The Worm, The People's Elbow has received criticism as far as its legitimacy as a finisher. Being that it's a delayed elbow drop, it's certainly understandable why one would loathe it. But consider this: The Rock's character is a theatrical one, brimming with confidence and bravado. Given his oeuvre, I'd say his finisher makes more than enough sense. And while this may be delving into the comedy wrestling territory, the same could be said about Santino Marella's Cobra or other similar-themed finishers.
But for every derided finisher that might not deserve the hate, there's always going to be one, or several, that most definitely do. Allow me to shift into my Corey Graves impression as I go into my "Bully Byron Saxton" mode. When it comes to wrestling finishers, I've yet to find someone who would defend Saxtonation as a legitimately good finisher outside of shitposting reasons. It's really not all that impactful, it doesn't serve his character well and the escalation factor is very limited. You could make an argument for innovation, but while it's different, it doesn't mean it's satisfying; just because 2 Girls 1 Cup isn't comparable to any other porno I've watched, it doesn't mean I'm going to achieve an orgasm watching it.
And while we're on the subject of innovation, it's important we discuss the danger factor. Consider the video above, where the wrestler SPYRAL BKNY performs a moonsault Styles Clash. Is it different? Sure. But considering the reputation the Styles Clash has already gotten (Roderick Strong and Yoshitatsu can speak for this), delivering it off the top rope and adding a moonsault onto it just spells a recipe for disaster; risking safety for creativity, I fail to see how this can be defended as a necessary means to an end.
Moment Of Reflection
So perhaps I may have come off as a bitter, hypocritical Cornette-esque curmudgeon in some aspects on this post. After all, I'm not the one running the ropes, so who the fuck am I to judge? I guess I'm writing this from the perspective of someone who knows what they like and is only basing this on their viewing activity. And above all else, this is entertainment, and entertainment is subjective. If a simple DDT does the job for you, cool. If you need a 450 piledriver, rad. Save for nerds like me who obsess over shit like this, as long as a finisher is entertaining and can suspend your disbelief, there isn't much need to dwell on it too much. Like what you like, and let's keep shit at least moderately friendly.
Unless you defend Saxtonation, because if you do, you deserve to be bullied.
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