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Deception is tricking your opponent into action or reaction by creating an illusion of attack. During combat, opponents react to input from the five senses: seeing, hearing, feeling, smelling, and pain, and possibility from the sixth sense of intuition. The better fighter is the one who quickest and best responds to input from the opponent. Reacting to a slight weight shift is faster than waiting until the leg move to react.  However, this quick reaction may be used against a fighter by deceiving the fighter into believing an attack is imminent. Deception may be used to make your opponent react in a specific way so you may counter attack or it may be used to slow your opponent's reaction to give you an opportunity to score with your attack. Deception may take many forms.

Fake

A movement toward your opponent that causes the opponent to react as though you were initiating a particular attack.  It is simulated attack that opens the opponent's guard as he/she reacts to the attack. To slow an opponent's reaction time, you may repeatedly use an ineffective technique to desensitize the opponent's reaction to it and then use it again in an effective attack. For example, fake a jab and hit with a cross.

Timing

A change in rhythm to delay or disrupt your opponent’s reaction time. You establish a certain rhythm so the opponent is used to it and then suddenly change it. It may be as simple as moving rather slowly and defensively for a while, and then suddenly attacking with a blitz of techniques. For example, for a few times use a jab-jab-cross, then use a jab-jab-hesitation-then the cross.

Feint

A movement, facial expression, or words that give gives the opponent a false sense of security. This type of deception is used mostly in street situations. Gestures may include looking or turning away from your opponent, cowering, acting scared, acting sick, pretending to be frail, or saying. "I'm leaving." Immediately after the gesture, you fiercely attack.

In magic's "Theory of False Solutions," the spectator is directed from one solution to another. When the spectator thinks he or she has the solution, the magician proves it wrong. By proving all the solutions wrong, the audience is left with no logical answer. When sparring, when the opponent thinks he or she has figured out your attack sequence, change the sequence a little. Then, when the opponent thinks he or she has figured out your new attack sequence, change the sequence a little. Etc. After a few cycles of this, the opponent will lose confidence in his or her ability to figure you out.

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