We get questions about groin strikes a lot on this blog. The reasons for why should be fairly obvious. However, what fiction lies to you about is the idea that the fight is over after someone has been injured or defeated to the protagonist’s satisfaction. The groin strike and results most people imagine is a fantasy presented by media because humiliation feels good, especially when you’re on the side of whoever is doing the humiliating. The problem is in 9/10 scenarios using a groin strike makes your character look really goddamn dumb. If you ever imagined your character as a martial artist or combatant of any kind, I’d exercise this one from your vocabulary until you’ve figured out how to use it responsibly.
The groin strike is a nerve strike. If you just went, “wait, what?” I don’t blame you. Those who didn’t know that the reason why we strike the groin is because there are a lot of nerve endings in your private parts. Your nerves communicate pleasure and pain to your brain. This is why pressure point strikes work.
Pressure points mess with your nervous system, those are the places on your body where your nerves cluster. Hitting someone in a pressure point can force them to experience immediate, blinding, and horrible pain. However, you’re actually just tricking your opponent’s brain into believing they’re in terrible pain rather than inflicting lasting damage. Pressure points are stunners and openers, but they’re not finishers. The pain your opponent experiences is brief, short lived enough that it may not finish the fight against an inexperienced combatant much less someone who can force their way through pain. The primary ability gained in any martial training is the ability to push yourself past discomfort and very real pain in order to keep going. You aren’t immune to pain, you just ignore it.
There are also a great many situations where pressure points will not work, or are unreachable. There are people pressure points won’t work on at all, whether they came by that naturally or through injury. Every person’s body is difficult, and a groin shot doesn’t generate enough pain to automatically put you in the safe zone.
The problem is, you’re not thinking about what comes next.
1) In fiction, the groin strike is for humiliation and domination.
Let’s be clear, the groin strike works on both men and women. What you’re actually aiming for is the scrotum or the clitoris, which is where the nerve endings congregate. From the immediate reaction, one might think this would be an obvious or effective place to hit someone. The problem is it’s over sold. However, by and large, in fiction the groin strike is used against male characters as a means of sexual domination (by either a male or female character) for the purposes of Feel Good Violence. Most often, the strike is just used as a justification for humiliation. Specifically sexual humiliation, and more specifically emasculation. The thought process works off the bully mentality that if you humiliate someone enough they will go away forever.
This only works if you believe insults to manhood matter, and that someone who has (up until this point) thoroughly ripped into the character that just humiliated them will just politely back off.
After this moment of catharsis, what comes next? If your character didn’t finish the fight with a follow up strike, they could easily end up in a worse position against a more motivated combatant.
Groin shots in fiction are about establishing superiority.
2) The groin isn’t a particularly effective place to aim.
Trust me, if you’ve got a male character who engages in violence, they’ve been hit in the groin before. Most men have, just on accident. Women too. However, that’s not the main issue. When taking inventory, the groin is just a stupid place to aim. It is difficult to reach and outside a brief moment of pain, not damaging in the long term. You’ve done nothing to them that could stop them from getting back up and continuing. Lots of guys do in sparring when they get clipped (if they’re not wearing a cup.)
There are easier to reach places on the body more guaranteed to have the desired effect. Forgetting a knee strike to the head, kicking someone in the shin is actually more effective as a setup. When you’re a fighter, you actually want what’s easy and effective. The groin shot is neither. It will take work to get there, it’s not particularly great compared to other/better tactics, and everyone’s going to know what you did. In a friendly real world setup, they’ll side eye the person who kicked the other person in the groin rather than the person who got kicked in the groin.
Besides, if your character isn’t doing a follow up then this experienced martial artist is also a moron; especially if they’re dumb enough to stick around and lecture.
3) The groin strike is a setup, not a finisher.
The point of a setup is causing pain to open up the defenses. This strike is a distraction meant to get to a better protected or more difficult to reach target. Fiction will tell you that the groin strike is all you need. This is untrue.
The problem with the groin strike is the pain is temporary. As I said earlier, boys do get accidentally clipped in sparring from time to time. When this happens, the fight breaks. The instructors ask if the person who got clipped wants to continue, and if they say yes then they go right back to sparring. Hitting someone in the groin isn’t a serious injury, they can power through it. Recover quickly enough to get back on their feet, and back the match in fairly short order. So, even if you’re character manages to land the full monty with knees, tears, and vomit, nothing is going to stop the tear stricken guy from climbing up out of his own vomit to smash your character’s head into the opposing wall.
You didn’t stop him, you just made him uncomfortable, hurt for a brief period of time, and maybe embarrassed him. While humiliation and retribution are cathartic, shaming often makes the situation worse. Martial training itself is often an embarrassing experience just in practice rather than by intention, you fail, you mess up, you slip up, you fall down, and get compromised.
Any groin strike in a martial system has an accompanying followup, like every other setup. The setup is the distraction. You’ve got to finish it with a second strike, which is the one that actually does the necessary damage. For example, one might knee someone in the groin to gain access to their head which they then slam down into their knee. However, in a fictional sense, that would defeat the idea of an emasculation and thus make the entire event less satisfying. After all, the point of this setup is to humiliate the other character by attacking his masculinity. This isn’t attractive because the strike itself is effective.
4) What Happens Next.
This is a real question I’ve seen plenty of writers fail to consider. They see the fight scene as an isolated incident that has no continuing effect, and is over when they say it is. Learning to take what will happen next both immediately and down the line is key to creating great scenes. More importantly, predictive failure is what gets combatants killed in the real world. Your characters need to be considering what will happen as a result of their actions, and if they’re not then that is a failing which should be addressed. Hotheads who get into fights aren’t static characters, they’re creating problems. Often, this behavior is self-destructive. Their actions will have results outside of them as the violence’s effects ripple outward. Consequences result.
This isn’t about good and bad, right or wrong. If you take a moral approach to violence, treat it as an overarching means of punishing bad characters, of deciding right from wrong, then all you get is might makes right. This might be a way a character approaches the situation, but you the author should think beyond it. This about action and reaction. Let go of the idea your character, especially a female one needs to prove her superiority. This is very important regarding violent male versus female interactions in fiction. Regardless of the author’s gender, female characters are often sexualized by default. Learning to let go of internalized stereotypes will help you be a better writer in the long run.
Start considering what happens as a result of a character’s actions, immediately. Don’t look at your female character as an example of all women everywhere. If she fails to think things through, if she doesn’t consider what will happen next as a result of her actions, or if she makes a mistake and doesn’t finish the fight then that is on her. That is not a universal example of women everywhere, or an indicator women can’t fight, or even that she’ll be on this level forever.
Every character in your scene is an actor, they are all important. Stories are about events, one leading to another both small and large.
5) Humiliation isn’t defeat. Defeat isn’t the end.
The fight isn’t over until it’s over. If they’re still able to chase you then it isn’t over. If your character is escalating the situation, it will go from bad to worse. Defeat isn’t a moral victory or a complete victory, winning is now and not forever. Violence won’t actually solve your problems. If your character is attacking someone they see on the regular, then the same problem will still be there. In real life, you don’t have two people who hate each other spar because Defeat =/= Friendship. It will inflame the competition between them, escalate their issues, and make the situation worse.
Defeat doesn’t prove whether or not someone is superior. Defeat is just defeat. A symbolic win is even more meaningless.
5) This doesn’t prove anything about your character or anything about the male character, but it does say a lot about you.
Many female writers get nervous about female characters taking on male characters because they’ve been convinced that men are superior. This is part of why the groin strike is so enticing as a narrative tool because it feels like it’d be successful, it feels like it’s humiliating, it feels emasculating, because the symbolism of masculinity is what is threatening to you rather than the man himself. The male character is just a convenient tool.
The man is the danger. You undercut yourself by making a fight scene about men versus women rather than a character versus a character. You cheapen the scene, the characters, and the message which is, I assume, that girls kick ass. The irony is that by focusing on emasculation, especially in a sexual way using the private parts, you make the scene about the man. You establish that men are superior, and you place the focus on them rather than your female character. You made the scenario about sex. More, you fell into the same objectification trap you were trying to avoid.
You don’t need it, and you hurt your own message by chasing a brief, momentary moment of disingenuous catharsis and fake girl power. You objectify your female character, you make her about sex rather than as a person or a warrior. You set her up in direct comparison with men and the concept of masculinity being superior. You didn’t defeat the concept, you embraced the idea. You made masculinity a centerpiece. You undercut her.
This is the ultimate problem with the groin shot. Regardless of whether it works or it doesn’t, regardless of whether it works in some scenarios and not in others, the groin shot isn’t about the violence. The groin shot in fiction is about framing your scenario as a sexual exchange between two men or a man and a woman, wherein one asserts sexual domination over the other. Thereby reducing both to caricatures. You explicitly link the violence to sex, making the violence in your fiction about sex, and reducing your female character into a sex object. You think it’s about one character asserting their superiority, which may feel good, but the relationship between the two fighters becomes sexualized and hyper-masculine. If you say you’re a feminist, understand this is what feminist fiction specifically seeks to avert. It directly undercuts your female protagonist to wrap the violence up with sex.
This isn’t a heroic moment anyone is going to celebrate in setting. Your audience might, but be honest: you were thinking about their reaction and not what was happening internally.
They’re just a terrible idea.