A Brief Introduction to Armoured Longsword Combat
- By Matt Anderson and Shane Smith (ARMA Virginia Beach)
Most practitioners of historical fencing have not extensively explored armoured fighting techniques. This is due to several factors, including the expense and difficulty inherent in obtaining a decent reproduction harness.
The fact that most harness fighting techniques involve thrusting and violent grappling actions is also daunting. Still, several members of the ARMA, Virginia Beach study group have for several years had a keen interest in trying to recreate the type of harness fighting we see in the "fechtbuchs".
Not the hack and bash type of display commonly seen at Renn faires, or the armoured stick fighting practiced by some medieval reenacting groups, but something more like what might have really been seen in 15th century Europe. We knew from our examination of the "fechtbuchs" that real armoured fighting of the period was efficient, effective and brutal.
Certain tactical basics became apparent early on. The edge of the sword, for example, is relatively useless against plate armour. Most source texts show no edge blows at all. Rather, armoured sword fighting is all about putting the point into a relatively unprotected area.
In order to thrust effectively and accurately to these relatively small targets such as the face, armpit, inside of the elbow, and other areas which are not covered by plate armour, and defend them, half-swording is the predominant technique.
Half-swording, with a firm grip closer to the point, gives one the thrusting accuracy to hit these relatively small areas. It also enables one to thrust with power and body weight behind the attack, often necessary in order to penetrate the maille and padded garments between the plate defenses.
Grappling moves such as trips and throws are an essential element as well. Levering with the sword, arm and wrist locks, even kicks and hand strikes are all useful techniques against an armoured man. It is often necessary to throw your opponent to the ground and perhaps hold him there in order to make an opening for your finishing move.
The more we studied the source texts, the more we realized that the only way to really learn how to fight in armour was to armour up and try to duplicate what we saw in the source texts. We have studied and experimented with several sources and many techniques but in this article, we will focus on what we have learned in our exploration of the armoured longsword techniques from Fiore Dei Liberi’s Flos Duellatorum.
Plot develops out of conflict, either external, such as a person or an event that precipitates a series of actions the main character undertakes, or internal, driven by the protagonist’s wants and/or needs. How that character, and others, makes choices and otherwise responds to stimuli determines the course of events.
The traditional structure of a plot is linear, in which the protagonist’s actions are charted in a more or less straight line, although many stories shift from that person’s point of view to that of one or more other characters as the tale progresses. Others involve one or more flashbacks, introducing new elements to the overarching plot.
In one sense, there are innumerable stories; looking at storytelling another way, various analysts have discovered variable finite numbers of basic plots (such as the quest, which is ubiquitous in all genres), though these types have a seemingly infinite number of variations, as a visit to any large bookstore or library will attest. But stories almost invariably follow a simple pattern, in which rising action propels the protagonist through a series of complications that result in a climax, followed by the falling action of the resolution.
At this point, the character, or at least the character’s circumstances, have changed, though most readers (and writers) find it most satisfying if the character has experienced significant growth or change and has accomplished a palpable goal, such as a physical journey that has allowed the character to achieve some reward, or an intangible goal that still satisfies the reader’s desire for the protagonist to undergo a metamorphosis of some kind.
Writer Annie Lamott created a helpful mnemonic catechism, ABCDE, to help writers remember the basics. Here are the elements:
Important electrolyte info you need to know.
This image offers an interesting way to look at the layers of a story. (We don’t know where it originated. Please let us know if you do.)
This chart says that your character needs something to care about, something to want, something to dread, something to suffer, and something to learn.
Imgur is home to the web’s most popular image content, curated in real time by a dedicated community through commenting, voting and sharing.
This seems to be a post-Bill Nye/Ken Ham debate set of images. Maybe. Anyway, fun!
It all started around 2008 when two unrelated women – Jessica Florence and Ellen van Deelen – started taking adorable pictures of their beloved pet rats posing with miniature teddy bears. Five years later, these adorable pics are still traveling around the Internet. They went viral on imgur …
Ratties and teddy bears! Can your heart withstand the cuteness?
No, really, they don’t. In fact, it’s better if they’re not. When you’re writing, especially if you’re writing violence, you can fall into an easy trap: you the writer know that violence is bad, but you also know that your character is good so they cannot perform bad acts and any act they…
I like stories where the hero is actually a bad guy. I totally agree with this writer.