Tag Archives: female fighter

Q&A: Combat Training for Girls

If we have a 22 year-old woman taught to use a sword by her father (in a historical fantasy kingdom setting) what would have a been a reasonable age her to start learning (using wooden swords)? In this setting, there is no social norm against woman learning to fight in any capacity. And if my setting is more Western, what would be a minimum reasonable age when she could carry her own real sword?

At the same age as the boys.

This is the problem when you want to do these setups. You have to forget that your character is female. There is literally no difference between a girl’s combat training and a boy’s. It is exactly the same, the expectations are the same, and the part where she’s female is tertiary as best. If you over focus on the fact she’s female (any hint of her being treated differently) in a setting where social norms about women in combat don’t exist will result in you shooting yourself in your own foot.

The minimum age is going to depend on her father, and will depend on her social station, which also depends on the kind of training she receives. This also depends on the sword type in question, whether we’re in the Middle Ages or the Renaissance, and if she’s expected to do anything else along with the sword fighting. For example, if she’s a knight versus a duelist. If her father is a mercenary who needs all hands on deck quickly, or can take his time about deciding when he lets her loose. If she apprentices outside of him, as knights did when they were sent out to serve as pages, then squires before they became full-fledged knights at twenty-one.

The problem here is that this girl’s training will go through several stages with weapons that are, technically, real. All training weapons are real. The wooden sword is a real weapon. The steel training sword which is blunted is also a real weapon. They are just not as immediately dangerous as a live blade, and she will never ever train with a live blade even after she receives one as her graduation present. The graduation present will probably coincide with whatever this setting considers her age of adulthood, which could be anywhere from fourteen to twenty-one depending on her social status. This one is going to depend on her father, and her setting. Her father might give her a real sword to take care of in her early teens which she gets to train with but not use on practice dummies or spar with, to teach her the importance of caring for her weapon. She might be allowed to carry it when traveling as her father’s second, but not use it outside a means of self-defense

There are a lot of different options here because Western training for combat was a highly personal experience dependent on the student’s master and, for the Middle Ages, tied heavily into ascension into adulthood rather than the regimented militarized structure or the comprehensive training systems we see coming out of, say, China.

So, the answer is when her father decides its appropriate for her to have one. Which is usually the point where he decides she can be responsible with it, and not kill herself or someone else. She still won’t be allowed to use it, but she can carry it. If she comes from a wealthy family then she’ll go through a few different swords because she’s constantly growing. If she doesn’t, she’ll probably just get the one she receives when her apprenticeship ends. Or whenever she has the means to buy her own sword from the local blacksmith, one that’s built to her specifications.

Carry and use are two different terms. Having and using are also separate terms. Your character can receive a weapon for the purposes of their training that they’re allowed to carry but not use.

You’ll need to study up on Western combat, specifically the era you choose to base the “historical” part of your historical fantasy on. With the resurgence of HEMA, there are plenty of fantastic resources online you can turn to for advice on sword combat. Matt Easton’s scholagladitoria channel is a great jumping off point. This can be great for defining the culture your character comes from and the type of combat she could expect to engage in. This, in turn, will hone the type of training she received from her father.

Writing a character’s training can be very difficult if you don’t understand the specific type of combat your character is going to engage in, and “sword combat” is not specific. There are lot of different types of swords with hundreds of variants in how to use them, and many that had their own specific purpose. Outside the Renaissance nobility, most sword combatants weren’t duelists. Duels, historically, were used as a means of settling legal disputes. While there were duels, the Middle Ages was more about various warlords fighting over territory. Their knights trained to engage as heavy infantry or heavy cavalry or both. They were usually trained on multiple different weapons, riding, hunting, and developed many other skills to aid them in warfare.

For purposes of writing your female character as a combatant, you need to forget she’s a girl. My answer about when the weapon gets carried would’ve been the same if you never mentioned the character’s gender. There are plenty of women who were, historically, trained in sword combat by their parents or were warriors due to circumstances. Too many for them all to be one offs or exceptions. The big thing to understand though is that the training doesn’t change regardless of whether your character is male or female. Her father would give her the same training he would’ve given a son.

If you haven’t considered filling your story up with female fighters in a universe that’s supposed to be gender neutral in terms of combat, then I encourage you to reconsider. To go any other way is to engage in a disingenuous girl power fantasy that does more to emphasize the female character’s special nature than it pushes the narrative that “women can do it too.” Normal requires there be more than one, and there be variety. This can be done specifically through minor characters peppered throughout your narrative, not just warriors or leaders but blacksmiths, farmers, merchants, etc. There also can be no, “but you’re a girl!”

She’s the rule, not the exception and therefore no one will give a shit.

-Michi

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The Speculative World: Unusual Martial Art: Street Fighting

The Speculative World: Unusual Martial Art: Street Fighting

Unusual Martial Art: Street Fighting

Street fighters are self-trained combatants. Usually we’re talking about poor kids, who’ve been forced to learn how to fight for their own safety. If your character’s growing up in dystopic slums (either in the future or in the modern third world), without access to any formalized hand to hand training, then you’re probably going to end up with a street fighter.

Street fighters tend to adopt a highly aggressive, improvised, and very brutal, style. They’ll use whatever techniques they’ve seen and managed to copy and place a premium on ending the fight as quickly as possible for their own survival. A lot of techniques from the Only Unfair Fight post are conceptually very at home in a street fighter’s repertoire.

Because of the prevalence of television, a lot of modern street fighters have incorporated bits from both wrestling and prize fighting. For an example: the entire collection of “backyard wrestling” videos sold in the States a decade ago were an example of street fighting (to an extent) and where that kind of combat can go horribly wrong.

It’s important to keep in mind that the major element here is “self-trained”. Street fighters are amateurs, plain and simple. While brutal styles like Muay Thai and various varieties of MMA may seem like they have a lot in common with a street fighter, they don’t. Combat isn’t really a “pull yourself up by your bootstraps and be a self-made man” kind of sport, so there are a lot of detriments that come with using street fighting for your character.

The first problem that street fighters suffer from is a lack control. They’ve never been asked to develop the kind of physical control martial artists are drilled in. This may not sound so bad at first, until we remember that the only lesson these combatants have ever learned is that the person who hits the hardest, fastest, wins. Street fighters version of combat is essentially flailing. It’s the twelve year old child on the street trying to do a pirouette compared to a professional ballerina. Because street fighters have never learned to control, their ability to moderate their techniques is severely limited. This means moves that come from martial arts, including wrestling, that place a premium on the fighters’ safety, become much more dangerous for both combatants even when it’s just a backyard practice match.

So, why is this bad? Some of you may be wondering, but if they strike hard and fast, always hit as hard as they can, why is this detrimental? It should make them stronger, right?

Wrong.

Hand to hand combat is not about physical strength, it’s actually about technique and making the most of your opponent’s body mechanics. A street fighter only ever learns that strength means victory, they only learn to strike hard and that’s it. But what happens when they come into contact with someone who is prepared to take the hit? Street fighting is very simple, so most street fighters have no concept of defense and they fail to grasp the underlying principles behind the techniques and how those all feed together into a cohesive whole. See below:

Street fighters lack the ability to chain attacks; this is a conditioning issue. In the beginning of almost any training, most martial arts place a focus, early on, with katas (though, they’ll mix the terminology up a bit). Katas are a specific sequence of strikes. The point here isn’t to actually train a combat sequence. Katas are singularly worthless for that, the point is to train the combatant to move from one technique to another. This can, in some cases, take years of drilling before a combatant will move smoothly from one technique to another in a fight. Because of the self taught element, street fighters don’t do this. In fact, most don’t even see the need for it or understand why they should. They might be able to follow up on a strike, but that’s it. The eight strike rule? Yeah, that’s out the window.

(Michi Note: For example, in Tae Kwan Do, the first set of moves a student learns in their first lesson is the double punch and the front kick. In a thirty minute lesson with an instructor, they are taught first to punch, then they are asked to put both those punches together, so that immediately after one they do the other. Instead of a one, it becomes a one two. Then, we teach them the front kick if they grasp the concept quickly in the first fifteen minutes. By the end of the lesson the goal is to have the student, even one as young as five years old, performing a complete combo for their parents: slide front kick then double punch. Even from the first lesson, the focus is on conditioning the body to move easily from one technique to the next without thinking.)

This difference in approach is one of the main reasons why street fighters are harder to train in conventional martial arts. This difficulty comes out of two competing bits of psychology: the first is that street fighters think they already know how to fight, they don’t. They have a harder time ejecting the ways they’ve learned, in favor of the much slower, more methodical, approach of traditional martial arts training. They feel like they know this, because they’re looking at the techniques not the connections between them. When you combine this with the attitude that self taught fighters have, of their techniques being good enough, it’s almost impossible to shift them over to a traditional style.

Street fighters will get utterly taken apart by trained martial artists. Whatever else we say, martial arts are about using physics and physiology to outmaneuver and disable opponents. Every trained martial artist is going to a solid grasp of at least one of these things, and any good one will have a very solid understanding of both. Against a street fighter with neither, this is an insurmountable advantage.

Street fighters will make rookie mistakes that can cost them, even when they have more practical fighting experience than the martial artist. This ties back into the previous issues, but one major one is that street fighters are more likely to end up on the ground in a fight. While this is going to get its own article in the future, the short version is the ground is the last place you want your combatant. Unless they’ve specifically trained to fight there (and some martial artists are), going to the ground is a good way to get your character killed.

(Michi Note: I was once told, in a seminar, by an experienced MMA fighter that the ground is the last place you want to go in a real fight, even if you are trained. Concrete is very hard, you risk a break in the fall and you put yourself much closer to a head injury by getting close to the pavement. The ground is a last resort and a bad place to be, because most of the advantages a shorter fighter has while standing vanish. The ground is one of the few places in combat where height and weight really matter. Where a larger opponent has all the advantages in weight, reach, and the help of gravity, for women, the ground is the kiss of death. A female street fighter might not know that, because she can use her lower center of gravity to easily knock over her opponents and stomp them. But it’ll catch up with her sooner or later. On that subject: this is why it’s important, for you women and men out there who are looking for a self-defense program to find one that starts you standing, then works the ground. Find one that will give you the necessary tools to back out of a bad situation before the guy or girl is already on top of you.)

If you understand the limitations, street fighting can be an excellent choice for your character, especially in a dystopic or authoritarian setting, if your character is outside the system and used to looking after themselves (and possibly others), without being able to rely on anyone else to guide them, then this becomes a really likely style. This also overlaps with gangs, and even in a modern context, if you’re looking at gang members, then this is the hand to hand style they’re most likely to be using.

It’s important to remember that street fighters aren’t stupid, they can be very intelligent, and they need to be adaptable to make the style work at all. They are, however, untrained and that’s their biggest weakness.

-Starke

Michi: On female street fighters

Female street fighters won’t and can’t rely on brute strength, they may think that they are, but they’re not. Female fighters base their ability to fight off making use of a smaller, more compact body to generate greater momentum through the strength in their legs and using their lower center of gravity to knock over larger opponents. Female street fighters won’t linger at the back of the pack, they’ll be aggressive and throw themselves straight into the fray with an attitude more akin to a wild animal than a trained fighter. Since they’ll mostly be used to fighting larger, male opponents, they’ll probably start by striking or grabbing low to the stomach, balls, and knees. Their goal is going to revolve around knocking over their opponent and putting them in a prone position on the ground so that they can be annihilated easily. Expect them to fight dirty.

Despite that, they won’t kick. Street fighters are primarily hands only. Kicking requires a different level of body coordination and training, which they lack. Even if they try and master some basics, those basics will be wrong and more likely to get them hurt. If you want your character to kick, then it’s a traditional martial art for you.

Female street fighters will be harder than their male counterparts, especially if they live in a male dominated society. If you want to write a street fighter, make a study of gang psychology specifically to understand the attitudes behind it. The difference in approaches between trained and untrained fighters are vast, so make sure you understand both before layering character traits on top of them.