Why, in the name of all that is holy, would you throw out a sword cane?
Because the cane shaft had cracked and was splintering wood chips everywhere. This was not a high quality piece.
Why, in the name of all that is holy, would you throw out a sword cane?
Because the cane shaft had cracked and was splintering wood chips everywhere. This was not a high quality piece.
Are you differentiating between a Thai style cut kick and a TKD style? Are you lumping both under roundhouse?
And obviously target selection is huge. Common peroneal thigh vs side of waist, for instance. Or brachial plexus.
Low TKD roundhouse kicks below the belt are usually feints with a switchover to strike high in the same action, they combine into a double kick.
I tend to put the Thai kicks in their own separate category from the general roundhouse because the hip movement (specifically turning over to go downwards instead of lateral, which makes sense given the stabilizing foot stays mostly pointed forward), rotation, foot placement, and points of contact are all different. The Thai cut kick has its own name, it’s separate from the roundhouse though they’re visually similar… I guess? The traditional roundhouse will have difficulty targeting the legs due it’s chamber, which is the Thai kicks’ specialty. I understand the confusion, the snap kick version of the TKD roundhouse that is mostly seen in sparring doesn’t move the front leg much but it also lacks turnover. You lift the knee in a front kick chamber and strike on an upward diagonal rather than horizontal. It’s a point sparring kick rather than a combat kick. Thai kicks can be used at much closer ranges with hip turnover, which you know.
Still, we’re getting into the variant ranges of kicks that are visually similar (I guess?) but very different in execution. There’s more than three different versions of the TKD roundhouse. The one I’m talking about is the roundhouse you see on television, the general roundhouse. This is the basic martial arts roundhouse with slight, minor variations between styles from TKD to Shotokan. It’s going to be the most recognizable to the widest audience.
The Thai kicks are unique, even in comparison to modern kickboxing with the way they move. The major difference between Muay Thai kicks and kicks from other martial styles is the range at which they function, which you know. Thai kicks work in the hand range versus the traditional kick range. Plus, the option to strike with the shin.
Krav Maga is the same way, it’s a different kick.
Muay Thai is a creature all it’s own, and deservedly so. In twenty years (or less) do its proliferation in the West and adoption in MMA/Hollywood, it’s going to have it’s own recognizable and famous version. That’s probably going to be one of the versions of the low kick that utilizes the shin.
Roundhouse tends be used as a catchall for lots of martial arts kicks, including kicks that have nothing to do with each other. I went with the generic. If I was doing the straight TKD kick, I’d mention the variety of different chambers for it depending on stance. I’m going with the one most people outside the martial arts community will be familiar with.
Call it the Chuck Norris roundhouse if it makes you feel better.
I think you answered the wrong ask with the long rule of cool answer? The question was if flaming arrow or fire weapon were ever actually used?
That question was a followup to another question answered about a day earlier, which was a followup to yet another question about flaming weapons. It was essentially asking why flaming weapons get used in Hollywood so much if the ones shown aren’t historically accurate.
We get a lot of questions about setting weapons on fire, and my point was that the movies and media you consume aren’t about accuracy. You shouldn’t look to them for truth, not even most of the “historical” ones because their needs are different. Rather they’re a place to start your search into history, which is vast. Fire and explosions have both been part of historical military campaigns but not in the way Hollywood will show you. Not the way that gets propagated throughout various fandoms, and not the way we see it represented on screen.
When you’re imagining fire arrows, you’re not thinking of early grenade like explosives in fields mined with gunpowder or Genghis Khan demanding all the dog and birds from a city he intended to conquer and then setting them on fire before releasing them. They’re not imagining flaming oil poured down from the battlements or catapults lobbing whatever it was they set on fire into a town. When they’re asking about fire arrows, they’re asking about the fire arrows seen in Robin Hood: Prince of Thieves (as Robin Hood: Men in Tights succinctly put it, “every time they do one these movies, they burn down the village!”) Or the flaming sword from The Scorpion King.
Fire has its place in mass battles and riots when it comes to burning shit down.
A quick internet search will find you all kinds of traditional uses for fire as a military weapon, the problem is that they’re not the ones most of those who come into our askbox are looking for. They’re not looking for artillery, they’re looking for a way to make what they saw in a movie realistic because they’ve been told realism is paramount to writing good fiction.
When you’re looking at whatever media you’re consuming, you should pretty much always assume Rule of Cool unless otherwise stated.
I wrote the post because that is what needs to be said. As a writer, it is important to be honest with yourself when you sit down to write whatever you intend to write. If Rule of Cool is what you’re looking for (which is what the vast majority of people who write fight scenes want) then just take a breath and accept it. You’ll be happier, you’ll understand your needs better and know what to focus on. There’s been an obsession lately about “realism” in battle sequences that aren’t particularly realistic but somehow makes them more legitimate than ones that aren’t.
Wait… Can we get some love for Long Kiss Goodnight for amnesia spy who doesn’t know they’re a spy? A lady spy at that?
Yes. Yes, you can. I’ll admit, I don’t think of it often, but The Long Kiss Goodnight is a good action film. If you’re wanting something in the genre with a female lead, yeah, watch it. This film deserves a lot more attention than it got.
Also, True Lies comes to mind, in a similar vein. Though there’s no amnesia plot in that. In theory it’s a Schwarzenegger film, but Jamie Lee Curtis does a pretty good job of owning it whenever she’s on screen.
Probably not, but it’s certainly worth trying.
The throat is pretty well protected. The skin is thick and tough, the trachea itself is made of hard cartilage rings, and it’s actually surprisingly difficult for a human to get a good mouth-hold on another human’s neck. (If you have a significant other who is okay with this, give it a try; don’t actually bite down though).
Hunters who do the throat-ripping thing usually have longer mouths than we do, which helps them get a grip on their prey. Humans have fairly short mouths by comparison, and really aren’t evolutionarily adapted for this task.
Now, that is not to say that having a human try to rip out your throat is not an absolutely fucking terrifying thing, because it is, and flesh missing from the neck can be psychologically devastating even if it’s not actually physically lethal. Your character could probably significantly damage the musculature and the skin, and possibly cause a severe venous bleed from the external or internal jugular.
If your character is going to get any better of a bite than that they’ll need their hands to hold the neck in place while they bite.
(Also, bites in fights is proooobably more @howtofightwrite‘s territory much more than it is mine 😉 ).
Best of luck!
xoxo, Aunt Scripty
We’ve answered this kind of question before on several occasions, they’re in the biting and the only unfair fight tags. For a better exploration of this topic, read this ask answered by Starke about biting off fingers.
The short answer is that physically you certainly could take a good sized chunk out of their neck with your teeth (terrifying enough in and of itself), the problem is the psychology necessary to follow through with it. Biting is straight up nasty and, when it comes to other humans, runs up hard against a whole bunch of self-preservation instincts that any protagonist would need to fight past in order to pull it off.
More than that, with his hands bound he’d have no way to hold onto his opponent thus not enough time to get a good bite off. He’s got to get to them, lunge in fast enough to get his teeth around their throat or (possibly) lure them close enough to get the bite off, and hope they don’t stop his head with their hands (or head) before he gets there. Attacking the throat, even with the element of surprise, is a great way to get someone to guard it.
The truth is in the heat of battle you’re more likely to come up with
ramming your head into your attackers throat (more effective) to a
temporary stun, then follow up with a headbutt to their face or move on
to using your shoulders and legs before thinking of your teeth. (It’s
difficult, but you can kick with your hands tied behind your back.)
Strikes to the throat can crush or halt your ability to breathe entirely
with enough force, but are more often used as stunners, to distract via
fear (brain freak out, vital place has been attacked, internal screaming) and temporary loss of breath. These create what we call “openings” as in openings in defense.
As @scriptmedic says, the throat is
fairly well defended by your physiology. This is going to be true of
the most obviously vital places.
You get far more mileage out of convincing someone they’re being attacked there in order to strike elsewhere because your instincts will move to defend those places at all cost. Like your hands automatically rising to your throat if it feels like someone is going to hit it. (This doesn’t make you good at blocking, it’s just instinctual order of operation. Sacrifice the less necessary body part for the essential one. This is why we never fight on instinct.)
And frankly, depending on his position, a fake out headbutt to the
throat while actually hitting the stomach (rising on that upward
diagonal into the diaphragm) will probably be more effective. Then, if
they’re still standing, headbutt to the face.
The first question is: can he bite?
No, really think about it. He cannot hesitate, not at all. A split second hesitation and he’s done for, he must complete the act in one simultaneous move. He can’t drop the moment he tastes the dirt and sweat coming with their flesh, then the blood running over his tongue, and get enough for a lethal rip away while his opponent is trying to get away. (And the attacker is, he started backing up the second the protagonist came at him, and the protagonist has no way to make him stand still.)
Remember, we humans don’t have the sharp teeth of a carnivore to sink in and keep our prey from running.
I mean it, spend some time thinking about what it’d feel like, taste like, and smell like. Then think about it from his perspective, it’s a dramatic idea but can he follow through?
The second question is: can he move in and bite in .5 seconds?
This is the sort of attack where he doesn’t get a second shot, and the kind where threat level is upgraded into automatic kill territory. Biting is socially unacceptable, dishonorable, and offensive.
The four scenarios for the victim are terrified enough to be paralyzed into inaction, terrified into action, so terrified they run, and righteously pissed. The protagonist has got to kill before fight, flight, or freeze takes effect. (And they can’t, really, unless they somehow manage to take out the carotid.)
The third question is: will the attacker be shocked enough by this bite to not retaliate while it’s happening?
The problem with the mechanics of a bite is you’ve got to get your teeth on the other guy’s throat for a solid rip away (and not miss because they moved their head or the teeth slip off), this takes time. The worst thing if he gets seized by the hair, punched in the face, stabbed by a knife, or gut checked by a sword pommel in the middle of (or slightly before) this bite going down. The protagonist needs to be mostly through the process of tearing by the time this antagonist realizes what’s happening. Even then, he’s in just the right range for some vicious retaliation. Even if he gets enough of a bite to kill, the other guy isn’t going to die right away. That could easily lead to an “I’m Taking You With Me” scenario.
The good news is that if he does manage a bite, he doesn’t need to take their windpipe. The human mouth is a vile, dirty, disgusting place and his victim will most likely die from either blood loss (depending on where he bites) or an infection.
The downside is his mouth will be full of their blood, and he’ll probably get sick too. If he doesn’t manage to escape, whoever else is working with his attacker will probably kill him because biting another human is as feral as it gets and automatically shifts whoever does it from “human being” into “animal”. While dehumanizing yourself to terrify your victims is a great strategy for psychological warfare, it doesn’t work so well when the shoe is on the other foot. In writing, you also run the risk of dehumanizing the character for the audience too. If it fails or the other guy lives, then he’s still the crazy idiot who tried to grab a guy’s throat with his teeth.
The trick to writing good fight scenes is being able to see and plan from the perspective of both parties in a fight. When trying to figure out whether something is possible never assume the guy they’re doing this action to is just going to stand there and take it. Everyone wants to live.
When talking about fighting, you’ve got to go through two steps. The first is the purely theoretical of “would it work?”, if the answer is maybe then ask “what would the other guy do in response?”
Most of the stupidest fighting ideas in real life die in this second stage (sometimes on the battlefield itself) because a live actor is much more difficult to deal with than lifeless dummy or someone whose given you permission to put your teeth around their throat. If the idea doesn’t float or sound good when pit against resistance then it’s usually no good, even if you’re crazy enough or desperate enough to try.
If rapid escalation into sudden, terrifying brutality isn’t in this character’s skill set (eye crushing, biting, and others) then this approach probably won’t work out for him. Does he think about ripping people’s throats with his teeth on a general basis? Has he ripped throats out before? Does he find the idea repulsive? If there’s a no to any of these questions or a yes to the last one then this approach may not be right for him.
1) With only his head, shoulders, and feet, your protagonist could put his attacker on the ground and then crush his throat with their foot. It would take slightly longer, be less shocking, and require a finer grasp of tactics, but that’s possible.
This has the potential to be exciting. I understand, however, that it is very difficult for someone without a martial arts background to think with their feet or plan a fight scene around kicks or anything other than fists.
2) Ram their attacker and drive them both to the ground, and give their head a few solid hits with their forehead if they manage to land on top. Then run for it.
This one would be much easier to go with, though their chances of killing via this method are slim unless they manage to land a concussion or damage the brain some other way. However, it could provide them with a chance to make an exit if they can do enough damage so their attacker doesn’t try to stop them from escaping.
There’s also the risk of what the other guy does with his hands. However, the one who lands on top is usually in the best position.
3) The environment surrounding your character and where they are fighting can become a weapon they utilize in their escape.
This is often overlooked in fight scenes, but utilizing the environment and terrain is a huge factor in combat. There may be a way for your protagonist to kill their attacker sitting right next to them, or they can take advantage of.
Throwing your body weight around is something anyone can do because your utilizing your core and momentum to destabilize the enemy’s balance. This can be done with just your shoulder and feet planted in the right place. Knock ‘em into walls. Use this force to create new, creative means of attack and opportunities in the environment.
4) Stun this guy, duck past, and run for a crowded area to make his escape.
This is what it says on the tin.
5) Or wait and plan an escape later when he’s in a better position.
This may not work depending on what’s about to happen to him in prison. The best time for a prison break is not from the prison itself but while the prisoner is in transit. Try to remember, depending on the situation, your character needs to escape in a way that keeps his pursuers from following him. This doesn’t necessarily they have to die. (At least, in this exact moment.)
6) He tries it and fails.
He tries it, he fails, or might be mildly successful but not successful enough, gets caught and the situation plays out another way.
Sometimes, scenes don’t go the way we want but that doesn’t mean the
story ends. Another interesting path is waiting right around the corner.
7) You ignore all advice and just do it. YOLO.
Try it and see what happens.
- Name: Eleanor Mark.
- Age: In this part of the story, starts off as 16 and ends at 21.
- Gender: Female.
[Pleased to meet you. -H]
Well, since we got mentioned… say the devil’s name and, “oh, why hello there.”
TW Savaging A Character Concept
(The original post had an actual TW for Abuse)
There’s actually more issues on the drinking, smoking, and generally not eating subject. If you’re fighting, or even just very physically active, you need to eat. That’s just non-negotiable.
We’re talking about a character that might be able to make it about 24 hours without a serious hit of protein before it starts to affect her. By three days, she’s going to be lightheaded after physical exertion, and might actually faint mid-fight.
As a quick guide, malnutrition will result in feelings of lethargy, which will get you killed in a fight. It slows down healing, and makes you more vulnerable to infections. Difficulty concentrating. Depression. Irritability, and difficulty staying warm, though the cigarettes would help with those two.
Staying warm might seem a little weird, but, remember, just like every other mammal, you (and your character) need to burn energy to maintain a constant body temperature. It’s actually a big part of why we have to eat as frequently as we do. If your character isn’t eating, over a period of time, her body will decide that’s less vital than maintaining a pulse, so she’ll have to work harder to stay warm.
And, make no mistake, if she’s not getting enough to eat, she is malnourished. For teenagers, persistent malnutrition can impair bone growth, meaning she’d actually be smaller than she would if she’d just eat a cheap burger every day. 5’10” is possible, but without malnutrition, she would have been huge.
Also, and I’m making an educated guess here, but if she’s suffering injuries that will result in scarring, she’s probably going to suffer a fatal infection long before her 5 years are up. Because her body simply won’t have the resources to fight it off.
Smoking isn’t automatically a deal breaker, but anything over a couple cigarettes a day is going to start cutting into her ability to fight. Now, nicotine does work as an appetite suppressant, but it won’t let her continue going after her body starts shutting down from malnutrition.
A habitual smoker will suffer impaired respiratory functioning, that means, once she starts fighting, she’s going to have to choose between fighting, and breathing.
Seriously, go look up smoking symptoms online. This does not mix with a highly active street fighter.
Also, smoking is expensive, a pack of cigarettes today (well, the last time I checked) is around $4 – $5 a pack, with 20 cigarettes per. If you’re smoking a common brand, a pack a day smoker will be going through roughly $120 to $150 a month. For a runaway on the streets, that is four to five months of burger money.
The problem with alcohol is a little different. When you fight, or are otherwise physically active, you sweat. For most people, this will never be a real issue. They’ll do something, sweat, stop doing the thing, and rehydrate. But, if your character is in prolonged combat, and an alcoholic, this will rapidly turn into dehydration.
So again, the symptoms to keep an eye out for are: weakness, dizziness, confusion, sluggishness, and fainting. As with malnutrition… in a fight those are all going to be an effective death sentence.
Also, because the body will try to generate a fever to deal with an infection, she’ll actually be losing even more moisture from sweating, leading to dehydration.
Some other fun stuff associated with an alcoholic combatant:
Habitual alcoholics develop a form of anemia, they face longer clotting times, and reduced healing. When combined with the malnutrition, your character will bleed for longer, and take a lot longer to heal her wounds. It might not be scars, it might actually be open wounds that just refuse to heal.
The anemia also results in easier busing, so, that will make her even more of a mess.
Dilatation of blood vessels which results in a loss of body heat, when combined with the malnutrition difficulty regulating body temperature… while I’m not sure exactly what would happen, it would be deeply unpleasant.
Alcohol dries out respiratory tissues (the sinuses and lungs), making them more vulnerable to infections, which she can’t fight off, because she’s malnourished.
Muscular atrophy, and myopathy (cramping, muscular pain, muscular degeneration, and weakness.) These are all chronic symptoms.
Two long term symptoms that, I’m not 100% certain of. Amenorreah can result in women skipping their menstrual period. I don’t know what that will do to a teenager. But, it’s just this side of possible she could completely shut down her ovaries. Also, I remember reading that, in a teenager, alcohol induced anemia will impair bone formation, resulting in weaker bones, though, I can’t find anything on the subject at the moment.
And, of course, as we’ve said before, combat takes a toll. I’m in my early thirties and there have been several points in my life where I’ve had to use a cane. My knees are beyond shot, and on a day to day basis I can feel bone on bone grinding. That’s without fighting every day. For someone who’s in constant combat every day, she’s going to be wrecked before she hits 20.
Also, if she’s malnourished, she’s going to slip into depression. That’s just her brain flipping her off and storming out of the room.
Okay, after all that, I almost don’t want to rake over the rest, but, here’s a few quick things:
In the words of Law & Order’s Lenny Briscoe: “You’ve got the flaw of most basically honest people. You’re a lousy liar.”
Honesty and lying don’t really work out well together. Someone from an abusive or dysfunctional family can easily end up as a fantastic (or terrible) liar, but they’re not going to be a basically honest person. For them, the truth becomes something that they’re punished for, so, more often than not, they’ll actually find lying more comfortable than telling the truth.
Car accidents that are severe enough to total a car (and kill someone) suck. Realistically, you’re going to keep finding new aches and pains for about a year. Even when you can walk away with a few scratches.
So, honestly, you probably need to ditch the malnutrition. Even if she’s getting enough to eat, while being highly active, she’s going to feel like she’s starving constantly anyway.
The alcoholism needs to go as well, that just wrecks the body in too many ways. When you combine it with malnutrition, you set up a vicious cycle that will kill your character.
Like I said, smoking isn’t a deal breaker, particularly if she’s scavenging for cigarettes when she can get them. It’s not healthy, but, it’s (ironically) a lesser evil here.
Finally, she can’t fight all the time. Well, she can, but realistically “all the time” means between 2 and 4 fights a week. Anything more than that and her body would just break down too fast for her to stay functional for more than a month.
what would happen if a character were shot in the thigh? would they die of blood loss or would it depend on where on the thigh the bullet went? also if the character somehow survived, would they be left with a scar or possibly a limp? eventually how long would they be limp (forever)? sorry for my english, and thank you!
If the bullet severs the femoral artery, death would occur within… I want to say two minutes, but it could be as much as five. If the bullet blows through cleanly, and the blood loss is managed, it shouldn’t result in anything more severe than scar tissue at the entrance and exit wounds. If it damages the bone and that’s not treated, or treated incorrectly, it would permanently impair movement (barring corrective surgery).
If the bullet tears up the muscle tissue, and it doesn’t heal properly, I think that would result in permanent mobility issues, but I’m not 100% certain how that would manifest.
Again, I’m not a medical professional; my familiarity with gunshot wounds is academic. So, I could be wrong here.
EDIT: I’m going to attach this reblog to the main post because it’s actually really useful, and I did drop the ball a bit last night after tumblr ate my first draft of the entry and exit wounds answer. So, with thanks to Disasterintow.
Gunshot wounds vary depending on the type of round used, special attributes to the round (hollow point, armor piercing, etc), the distance from the shooter. A normal sized male (6’ 180lb) shot at close range to the thigh with a simple 9mm round would be in a lot of pain, but risks only moderate damage to bone, and supposing the femoral isn’t stuck, the most you would to be dealing is a hopeful through-and-through. That way, as mentioned before the most to be dealt with is stopping the blood flow and stitching up entry and exit wounds (the latter of which will be significantly larger).
Do. Not. Dig. A. Fragmented. Bullet. Out. Unless you are a skilled surgeon, though even these days, a majority of those professionals choose to leave non-life threatening shards inside. Removing the bullet damages muscle tissue, connective tissue, and tears nerves, all of which are needed to counteract the trauma of the initial wound. And you run the risk of more blood loss.
Now, when it comes to larger caliber bullets and shotgun shells, there is a problem with distance. Up close and personal, a .45 caliber handgun round could shatter bone and leave an exit wound the size of a Granny Smith apple. broken bones (shattered ones, at that) have a very high risk of sepsis, and if not dealt with quickly, could spread to the rest of the body.
AP rounds – Armor Piercing – go straight through flesh and have very little sign of slowing. There is risk to bones, however, as the amount of power (force) they carry with them hits full on if it meets a hard structure. The kinetic energy alone can fracture shoulder blades.
As for buck shot and slug for shotguns, those are trickier. They do need to be a certain distance to be effective, but make no mistake: these rounds will break bones and most certainly leave holes in you. Buckshot is pelleted, but deadly in a closer range.
A safe bet would be to say the person was shot by a .40 caliber or lower handgun, or anything around or lower than a .308 rifle round, and that the meat of the thigh took the bullet. If at a decently close range, that person should survive and most likely walk with a little hitch for most of their lives. Nothing too noticeable, however. There would certainly be scarring, and if nothing happened to bone, and no nerves were injured, there should be no loss in range of motion or use.