Tag Archives: fight scene

Thug picks Fight With MMA Fighter. (by Brandon Ryan)

Since we’ve been talking about trained versus untrained on this blog, I’ll share a clip from a local news station in Memphis where a guy picked a fight with the security guard. It’s a real world fight, but there’s no blood or broken bones. It’s just a good example of the difference between someone who practices and someone who does not, and what that means in a fight.

The security guard is certainly not the best fighter out there, but a visual example is always helpful for writers and it’ll help some of you grasp the concepts we’ve been talking about a little better.

I don’t intend to make a habit of this though. Warning for language and real world violence.

-Michi

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.

Fight Write: The Only Unfair Fight is the One You Lose (Part 2: Brutality)

This is the second part of our article “The Only Fair Fight is the One You Lose”, if you haven’t read the first part “The Nietzschean Defense” please do so. This article refers to some of the other more brutal aspects of combat. Again, we believe it’s important for every writer who wants to work with combat to understand it in its entirety. This includes the bloody, uncomfortable aspects of it.

Knowing when, where, and how far to push your character is a key part of writing a combatant. If you don’t know where the upper limits are, how can you write a character who defies them or worse, how can you write a character who goes there? This part of the article is the slightly gentler side of things. You know, if, for any reason, you don’t want your characters psyching out their enemies by becoming a monster in their personal horror movie. Below are are a few more mild options. These focus on ending the fight definitively and quickly before the fight has even gotten started. Again, we’ll be listing this with a trigger warning.

Joint Break

There are two kinds of joint breaks, elbow and knee. Elbow breaks are strictly defensive counterstrikes designed to cripple the attacker’s arm. Knee strikes exist as both defensive and offensive strikes.

Most elbow breaks rely on catching a strike, twisting the attacker’s hand like a normal arm lock, but, instead of applying force against the elbow to subdue the attacker, the martial artist follows with a hard strike to the back of the attacker’s elbow. If properly executed the strike will hyperextend the limb, tearing muscle tissue, and destroying the joint.

Defensive knee breaks work off a similar system; trapping the attacker’s leg during a kick, and delivering a hard strike to the knee.

Knee breaks also exist as a variety of kicks to the leg, designed to force the joint to tear. To break the knee all your character needs to do, is strike it so it bends in any direction except the one it had originally.

As with the attacks in the previous article; joint breaks are viewed as very egregious in the real world. These are injuries that will never properly heal without significant medical attention and surgery.

About 14 years ago, I hyperextended my knee while running. While, this was substantially less destructive than an actual joint break; I was on crutches for about a month, and was still using a cane to get around six months later. Even with physical therapy, this is an injury that’s never fully healed.

Breaking an enemy’s joint will effectively remove them from the fight, as they’ll slip into shock.

The Head Slam

We’ve talked about hair pulling, but this is the real payoff. The character seizes their opponent’s head, either by the hair, across the back of the skull, in the grip described in the eye gouging section, or by grabbing their face. They then start pounding the head into any nearby solid object with as much force as they can muster.

This works best as a preemptive strike. While a large character could grab an enemy mid fight and start slamming their head into things, jumping a character and using the force to repeatedly slam their head into the pavement is just as viable for a smaller character.

Films are somewhat fond of using these attacks, though they often downplay the danger involved. One or two strikes to the head will seriously impair any combatant.

Strikes to the front of the skull are slightly less effective, because of the heavier bone structure in the forehead, but with these attacks, exterior physical damage isn’t the point; inflicting brain damage is.

Head slams have an advantage over normal combat techniques: there’s little to no risk of hand injury from them. There’s also an equally serious disadvantage. Head slams can easily kill the other combatant, and the factors which control this are completely outside your character’s control. Bounce the brain off the skull to hard, or in just the wrong way, and they have a corpse to contend with.

The Groin

Everyone reading this should have some general familiarity with the concept of groin strikes. “Kick ‘em in the nuts, and down they go.”

This actually works on combatants regardless of their gender, though kicking women in the genitals requires slightly more accuracy to be effective since the striking region is much narrower. (Michi Note: I received an accidental knee to the groin during my third degree black belt test and it wasn’t much more than a clip, but it hurt like a…anyway, it’ll knock a girl out of the fight as same as a man.) If you’re wondering why: the clitoris is just as sensitive as the penis and has as many (or more) nerve endings. It’s just smaller, so it’s harder to hit.

-Starke

Fight Write: The Only Unfair Fight Is the One You Lose (Part 1: The Nietzchean Defense)

This is going to be a rough ride for some of you, so we’re listing this with a trigger warning for violence. Fighting is very violent, any aspect of the human condition that deals with survival usually is. I believe it’s important for authors to be aware of the full brutality of combat so they can go in with their eyes open and taper back as they see fit. The only way to ever truly be in control of your story is when you have as much information about the subject matter as possible. This includes delving into some basic aspects of human psychology and how that affects combat. We’ll be breaking this article up into two to focus on two very important but different aspects of brutal combat.

“The only unfair fight is the one you lose.”

The first time I heard this phrase was in a self defense class when I was about twelve or thirteen. At the time, I’d come to fights with the idealistic belief that there was some kind of fair play involved in how to fight someone. There isn’t.

I’ve since heard the phrase from several former military men and a few cops. Here’s what it really means. You do whatever you need to, to survive a fight. In the real world, a lot of these moves have serious legal consequences, if they’re used outside of a life and death situation, and they probably should in your story as well.

The Psychology

The moves I’m going to talk about are both based on a simple psychological assumption. The idea is to look at people the same way you look at any other social animal. Then have your character present the illusion of being more of a monster than they actually are, in order to scare off aggressors.

This works with untrained thugs, bullies, and petty criminals. It will not work as well on characters who have extensive experience with combat and or the aftermath of violence.

The Eyes

Gouging out someone’s eyes is an excellent counter to choking. This is best achieved by gripping the skill with the thumbs next to the eye, and the index and middle finger near the ear, and pushing the character’s thumbs into their eyesockets.

Going for the eyes, before beginning the actual gouge, will usually evoke a very primal response and force a character to stop choking their victim while they try to deal with the gouger’s hands. Gouges can be done from behind, if the victim is being garroted or held, simply by having the victim reach over their head and behind them. Finally a successful gouge will make other combatants leery of closing in on the gouger for fear of joining the Blind Justice crowd.

Tooth and Claw: Biting vs. Scratching

The strongest muscles in your body are located just below your cheekbone. Regardless of if you believe if it was simple efficiency or divine inspiration, your mouth and teeth are designed to separate meat from, well, pretty much anything.

On the bright side, people are made mostly of meat, so, if it comes down to it, taking a chunk out of someone’s shoulder is just a new application of something you practice three times a day.

Forget zombies, the worst bite a human can suffer is from another human. Our mouths are loaded with bacteria that we’re used to, but other people… not so much. Even if your character doesn’t take a piece off, the injury will need actual medical attention, and explaining away a bite wound to a medical professional or a cop can be very difficult.

Additionally, depending on how you bite, your molars can apply enough force to crush some smaller bones; completely, and permanently, crippling their hand.

After biting off a chunk, your character’s going to want to spit it out, along with as much of the blood as possible. There are a lot of potential pathogens that can be spread from blood or tissue contact (off hand; some flavors of Hepatitis and of course HIV/AIDS are the two most dangerous possibilities) , so, your character is taking on a fairly serious health risk from chowing down. As with the eye gouge, this is going to make other attackers back off; with the logic of, “if she just bit off his fucking ear, what’s she going to do to me!?”

There’s also a pretty serious psychological block about going toe to toe with someone who’s covered in someone else’s blood. This is just as true of people attacking your character.

In contrast, scratching, and this is personal experience, just doesn’t seem to be that viable. You do some surface damage to the tissue, and you do get some skin samples, but it’s far more socially acceptable, and far less dangerous. It won’t have the psychological effect you want and can actually spur more aggression.

-Starke

Tip: Your character can only strike in the directions their hips point.

Hand to hand combat is all about strategy, tactics, improvisation, and making the most of basic body mechanics. Yes, basic body mechanics. I’ve talked before about how the hips lead the body and they do. It’s not the arms or the shoulders or the legs, though each of the muscles has their place in making the body work. The hips are the guiding factor to creating momentum, the strength that comes from the pivot, the turning of the hips in conjunction with the upper and lower body to create force through movement. You create better results through conditioning the body and training your reflexes, but the limitations the body faces are its limitations.

 So, what are the directions you can strike in without stepping?

Forwards: front kick, roundhouse, shin kick, straight punch, cross, backhand, hammer fist, etc. Most of the basic strikes with the hands go straight forwards, the elbow can also strike going forward by coming across in a circular motion to strike at the face or the neck.

Side to side (right or left): The primary strikes on a sideways vector are the sidekick and the elbow. (Michi Note: Erp. I forgot the backhand, sorry.)

Backwards: the back kick, the mule kick, and other variations striking backwards (or with the fighter’s back to the opponent). Again: the elbow. The elbow is most useful for striking enemies from behind in close quarters, especially an enemy who is reaching in to grab them in a bear hug. Please keep in mind that the elbow is a close-quarters strike only, check it yourself by bending your arm at the elbow and bringing it across in front of your face. That’s the distance your character will have to strike effectively with the elbow, the elbow is the strike used when you are too close to get the windup for a punch to be effective. (Michi Note: my Divergent irritations are showing again, sorry.) Because of limited movement backwards, (yes, surprise! the joints betray us), the elbow is one of the most effective strikes from this direction. Strikes backwards are usually low (to the stomach) because visibility is either bad or non-existent, so the fighter is working off instinct. The stomach is a large, easy, soft target to aim for. (It’s not uncommon in the grab, if the arms are left free for a fighter to reach back over their head for their opponent’s eyes. Eye gouging is a thing, guys.)

It seems pretty limited when you stop and think about it. Forward, back, left, or right. Much of hand to hand and even basic weapons combat is all about maneuvering your opponent onto a vector they can’t strike from, while the protagonist is still able to strike them. This is both why stepping is important (focus on the feet). Now, it’s also important to remember that their opponent won’t want to go that way and may not be easily led. This is why stepping to get on diagonals or out of the way is important.

Always keep track of which directions all your characters in a scene are facing, what they want, where they are going, and what they are doing. It can be hard to visualize this and keep track, so always go back and double check (even triple check) that you didn’t accidentally magically move your characters to a different place just because they need to get hit on that line. Make sure the reader knows how they got from point A to point B to point C in the scene, even if the fighting itself is confusing for the characters.

Happy writing!

Fight Write: Your Character’s Weapon is also a Character

No, we’re not saying anthropomorphize your weapon. But here’s the thing, the best way to prove to your reader that your character knows what they’re doing isn’t what they do in the middle of a fight. It’s the behavior they exhibit outside of it, especially during their downtime.

Every weapon is unique and I don’t simply mean that in the way that a bastard sword and a broadsword are two completely different weapons. They may look almost the same, but when you look at them closely, you’ll notice many differences between them that are key to how they were used in combat. So make sure you know which weapon your character is using, calling it a sword or a gun is not good enough, know which one it is, what it was and is still used for, and how it works.

 Now, it’s even more important to mention that even weapons that are direct off the factory line like handguns and rifles are all individually unique. No gun, even of the same make and model, is exactly the same as another. Each has their own individual tics and flaws in their construction for how well they work and what needs to be done to care for them.

Handguns specifically are more subject to wear and tear because of their internal mechanisms and more personal customization. For example, the Walther P99 comes with three different grips designed for the shooter’s hand to be configured out of the box. If you add a tactical flashlight to the weapon, then you change its balance and recoil. This means the weapon will look and feel different from weapons of a similar make.

Any character who has had their weapon for a long period of time will know the ins and outs of it. They’ll have to. For a character that fights their weapon is their lifeblood, it’s their most precious possession, in some cases it’s essentially their best friend. Now, a character that doesn’t properly care for their weapon and ignores basic safety is a danger to themselves and those around them. But in fiction, that can definitely be a distinctive character trait to that character. This is why it’s so important for authors to get to know the weapons they plan on using, simply because then they’ll know what makes a good practitioner and what doesn’t so they can adjust the character’s behavior according to what they need for their story.

No matter what the weapon is, a character who is a warrior or who fights will be defined by how well they care for that weapon and their gear.   

Here are some ways a weapon can indicate a character’s state to the reader without any dialogue being necessary:

In the beginning of the story, Joe’s sword is pristine and in perfect condition, we constantly see him cleaning it and sharpening it after each battle as the novel progresses, Joe’s traveling companion Jason begins to notice small signs of wear in Joe based on the blood left on the hilt and that the annoying amount of time Joe spends cleaning his weapon is getting shorter and the blade is getting duller. The more battles there are and the worse it gets until Jason finally steps in to confront Joe about his behavior. This can lead to a moment of crisis for Joe that allows us to see into a character who wouldn’t normally converse about these emotions. The state of the weapon can also be used to show the reader, who may like Joe, that he’s not doing well and encourage emotional investment in his character because it’s obvious he’s having a difficult time.

In the hands of an aware author, this can be a way to humanize characters that are usually unlikeable without ever having to go inside their heads. You also can’t just take a character’s personal weapon from them and give them another with the expectation they’ll be interchangeable. Even a practitioner who is skilled with multiple different arts will have difficulty period adjusting a weapon they aren’t used to using. This is because every weapon is an individual and just like their wielder, should be a considered a character in their own right.

Ask yourself some important questions dealing with your weapon and your setting:

Is the weapon your character uses common in the setting they are living in?

If not and even if it is, where and who did they get it from?

How much effort will they have to put in to care for their weapon? If it’s a rare weapon or one that has fallen out of use, they may have to have some skills in basic chemistry to construct the gunpowder or the oils they’ll need.

Why do they use this weapon instead of another? Were they trained in its use or are they self-taught? If they did learn from someone, then who was it and who taught their teacher?

If it’s a projectile weapon is the ammunition for it readily available or will they have to manufacture it themselves? If you’re using a more exotic weapon like a matchlock or a flintlock pistol, this will be extremely difficult even if your character has the chemical understanding to manufacture the gunpowder because getting flint in the proper configuration will be a pain if it’s not readily available in the setting. Flint will wear down over time.

How durable is the weapon? Will it require a lot of special care? If your character is using a katana, it’s best to keep in mind that there is a significant difference between blades forged in Japan today and older blades made using the natural iron deposits found in Japan.  The older katanas are very rare because though they didn’t see a lot of use, they weren’t very durable. If it’s a different sort of bladed weapon, they’ll need something like a whetstone to be able to keep the weapon sharp and hammer out the inevitable dents the weapon will receive if there’s no blacksmith readily available. (You won’t be able to do this with any katana that pre-dates WWII. You may be able to hone one though, research as needed).

Is this a weapon that another trained practitioner or even local law enforcement will recognize? If yes, will carrying it get them into trouble with the local authorities? If not, why not? It’s important to remember that even today in states like California, the bow and crossbow are regulated weapons that require a permit to be purchased and owned legally. If your character is living under a restrictive regime, the number of weapons they will have access to and be able to effectively hide will be limited. So pick one that makes sense for the world they live in, not just their profession and their skill set.

Here are some ideas for how to include weapon cleaning scenes in a narrative:

You don’t need to take time out to specially point out that your character is doing this or make a big deal out of it. Besides, that would be strange for them since for most warriors these tics in behavior come naturally and are a package part of their training.

You can have them cleaning and caring for their weapon while they are in the middle of a conversation with another character if they are a center of that scene.

You can show them cleaning their weapon in the background of a tense conversation that they may be watching but doesn’t involve them.  It will only take a few lines to show what they are doing through other characters basic observation skills.

Sometimes, it’s important to show non-combat characters feeling threatened by the fact that they have the weapon out and annoyed by the fact that this character isn’t paying attention to them even though they are.

Depending on a character’s martial style, they may have an annoying habit of being up and mobile. They’ll pace, they’ll stretch, even just during normal conversation. Character A stretching can be very distracting for Character B if they are sexually attracted to them. It’s important to remember that stretching can be done in complete innocence or with the intention of arousal, depending on who the characters are and what their personality is.

Weapons are an easy source of tension because for many people who don’t fight (and even some who do) they are threatening. One of your characters may not even realize that the fact they have their rifle out and in pieces on the table with a loaded handgun right next to it might be perceived as a threat by another character. Or, the fact that they are cleaning their weapon could be a threat, such as sharpening their sword with a whetstone. It could be a way to indicate annoyance. So, think about where they lay out their weapon, what direction it’s facing, where they choose to look, and how fast they are going. A character’s body posture can communicate a lot without them ever having to say anything or it could suggest to the reader (and the other character if they’re good at reading body language) that they mean the opposite of what they are saying.

The time it takes for a character to get their weapon ready or put away can be a hindrance, especially if it’s a weapon like the bow where such action is necessary to maintain the battle-readiness of the weapon. This action can be used to cause narrative tension between those who just want to get on with it while the first character needs to make sure their weapon is prepared right.

Here’s an example of a good use of an exotic weapon in fiction and how it affects the character:

Marcus in Babylon 5 is an excellent example of how to make use of an exotic weapon in a narrative without it being either ostentatious or aggravating. In the show, Marcus carries an Mimbari fighting pike, which is an alien weapon carried by the race Humanity was at war with ten years before the series starts. It’s a rare weapon even among the Mimbari, used only by high ranking members of their warrior caste. In the weapon’s natural state it has the advantage of not looking like one. But even in combat, it’s a weapon that most people won’t recognize. The problem for him, though, is that veterans of the war will (and do in the show) recognize it as a Mimbari weapon and they react, often according to old prejudices. The weapon also puts him at odds with members of the Mimbari warrior caste when he encounters them because it’s offensive for him to be using one of their traditional weapons. It also means he was extensively trained in what his own people consider to be an alien fighting style and a fighting style used by the enemy. The people who see the weapon for what it is are left uncertain of where his loyalties lie and whether or not he can be trusted.

The pike serves as a method of showing to the audience how Marcus is a balance between the two races while also being isolated by it and pushed to the outside edge of both communities. It’s an excellent demonstration of what a weapon can mean for a character beyond them just carrying around a unique shiny that makes them special.

Every aspect included in your story must be there for a reason. This includes a character’s weapon.

MBC Guerrilla Video Volume 1: Concepts (by StaySafeMedia)

So, I’m posting another Michael Janich video. This one is about basic concepts that have to do with self-defense and his own personal style that bases itself in knife fighting.

I’m a big fan of self-defense training for everyone, but on a craft level for writers especially. The difference is that many martial artists will focus their training on how to do a technique and not the focus of what it’s for until after the student has developed a decent base. This is fine, even good, for martial artists because it’s a necessary step. But it can make researching MAs rather obtuse when trying to divine how it works without the necessary years of training. Practice for real world situations often won’t happen until the upper belt ranks and sometimes, not until black belt. For example, I didn’t start working knife disarms until I started training for my second degree black belt test at 15.

Compare to self-defense, where training focuses on techniques that can be picked up easily and puts a primer on user understanding. The focus is not just on how to do a technique, but what it is and what it does, how it can be used practically and with different variations. This is the sort of information a writer needs to be able to write about fight scenes well.

Also, studying up on body mechanics and basic physiology never hurts.

I’ll be posting an article of my own later today. If you have any questions either regarding writing or self-defense, our askbox is always open.

Fight Write: On Hair Pulling

Where the head goes, the body follows.

This is one of the most important tenants of self-defense and it’s why every combatant, male or female, should keep their hair either short or bound to their heads in a braid that is so skin tight the fingers cannot seize it. The fighter who does not risks having the back of their head grabbed in the middle of combat by providing a decent, easily accessible grip for their opponent. Regardless of what television will tell you, the ponytail is not good enough.

The hair is a much easier target than attempting a headlock or grabbing behind the neck. Once an opponent has their target in their grasp and control of their head, they can take them almost anywhere they wish.

Your hair may be dead, but beneath the skin it is very much alive. Wrap your fingers in your own hair and pull, you’ll find it to be fairly painful, then, imagine the pull from the hands of someone who doesn’t care about your feelings or maybe your hair was pulled by someone when you were younger. It can hurt a great deal and pain has a way of locking us up when we are unprepared or it or when we haven’t been properly trained to deal with it.

It’s important to remember, no matter what folks say about hair pulling, that it is a real, acceptable, and commonly used tactic, especially against women. It will also work against men with hair long enough for a good grip. Honor has very little place in real world combat, remember that an advantage taken is an advantage gained and the only true imperative is survival.

Hair pulling is very common in fights among groups, such as in clubs, mobs, etc as a means of taking someone down. The best advice for when someone takes you or your character by the hair or by the head is to go with them, not politely, but in the same general direction by ramming sideways, forwards, or backwards in the direction of their grip and to keep going until they fall or are driven into a wall or another individual. This will keep you from being injured or having your hair yanked out, it will also save on the pain because it releases tension.

Fight Write: Art, Sport, Subdual, and Lethality

In this post, I’m going to break Martial Arts down into four subcategories: Art, Sport, Subdual, and Lethality. These are general distinctions that relate to the practitioner’s outlook and what they’re training for as opposed to the styles themselves. The reason behind why someone is training and what they are being trained to do is actually much more important than what the style or techniques were originally intended for.

Styles evolve and change over time, the effective ones stay and the ineffective ones go as combat itself evolves. A good place to study up on rapid martial evolution is in the history of Europe, where the countries were in near constant war over a limited set of highly valuable resources. European combat evolved and changed quickly and constantly because it was necessary to for the different countries to keep themselves from being conquered by their neighbors. There was a nearly constant discarding of any traditional forms for something more practical to the times. This is part of why it’s important to study the cultural background of any MA you look at, no matter where it’s from, and compare that to what you need from it. Styles change with the cultures they’re part of, even ones that were imported from elsewhere. The techniques themselves are more easily ingrained by body and mind than the philosophy that spawned them.

Usually when talking about Martial Arts, you see the styles broken down into hard and soft, hard is an aggressive straightforward style like Karate and soft is an inward, philosophical style that revolves around not subduing your opponent, but allowing your opponent to subdue themselves through “gentle” redirection. We leave the term gentle open to negotiation depending on both viewer and outlook, sometimes there is nothing soft about a soft style. For reference: Chinese Tai Chi and Japanese Aikido are two of the more recognizable soft styles. Personally, we find this terminology to be misleading, because it does not cover all the myriad of ways these two cross over as the different styles influence one another through cross-contamination.

No Martial Artist exists in a vacuum, they are constantly influenced by their fights, their opponents, their training, and their own philosophy regarding their fighting and fighting in general. Every MA has an outlook and a personal philosophy, even if their philosophy is just that having a one is unnecessary.

It’s also important to note that hard and soft relate to Asian Martial Arts, more specifically to those from China, Japan, and Korea. These Martial Arts are intensely tied up within their own cultural traditions and because any discussion of this terminology generally revolves around Eastern philosophies, the terms do not relate well to Western MAs like boxing, fencing, M.A.P., Systema, Krav Maga, and Sambo or South American MAs like Capoeira, all of which come with a very specific outlook relating to their own country of origin. It also doesn’t function well with outside understanding of forms like Ninjutsu, Judo, and Jiu-jutsu that incorporate both hard and soft movements respectively. Some would say that Jiu-Jutsu is just the hard version of Aikido and some would not, this is why this distinction gets sticky.

Not just that, says the well-informed author, but didn’t the Marines appropriate a great many techniques from Judo and Chin Na during their time stationed in Japan and China as they developed M.A.P.?

Indeed they did, but it’s important to remember that the Marines don’t care about the outlook or the cultural philosophy that provided the basis for those techniques. While they may share their techniques with other styles, the way the Marines condition and train soldiers to use them bears almost no similarity to the original intention.

Martial Styles represent the culture that surrounds them, so let’s break it down into something simpler.

Art: Art is for a practitioner with a spiritual outlook. Many Martial Arts masters fall into this category, regardless of style. It’s the study of the body, the spirit, and the mind and developing those connections through meditation and intensive training. This outlook is a lifestyle that involves constant self-improvement and introspection. Its intention is non-combative, though the practitioner can also train for that. Aikido and Tai-Chi can fall into this category (though a practitioner can land in other categories too), but this can also include any Chinese MA from Shaolin to Wushu, or any MA where the training focus is on self, on beauty, and perfection.

Common Artistic/Spiritual Martial Arts:

Tai Chi (China), Aikido (Japan), Capoeira (Brazil), Kalari (India), Kyudo (Japan), Wushu Kung Fu (China), Karate (Japan), etc

Sport: This is the Martial Artist who trains primarily for the arena, whether that’s professional prize fighting, death matches, or the Olympics. The trainee is prepared around a certain set of rules of what they can and cannot do. Authors who wish to write these characters will have to study up on the specific rules behind the intended training. This should be self-explanatory, but it can get confusing when the same Martial Arts like Sambo, Muay Thai, and Krav Maga fall under this label and the Lethal one. The difference is not in the techniques, but the type of preparation the trainee receives from their instructor. Someone who trains for matches does not do so with the likelihood of death as an immediate part of the equation. While they know it may happen, they also know it’ll probably be accidental or a result of their (or their opponent’s) stupidity. Actively murdering an opponent in the ring is detrimental to most fighters’ careers.

I also include work out Martial Arts in this list.

If you want to write Gladiators, it’s important to remember that Gladiators themselves are an investment of time and money on the part of their benefactor. Death matches are uncommon not because people don’t want to see it (there are more than a few who would watch), but because the number of people out there who will come back again and again to watch their favorites participate next week outnumber them. The tournament officials can’t earn money off a dead or crippled gladiator, even when there are more than enough eager replacements. When modern MMA first began, they tried the “Anything Goes but Death” mind set. They learned quickly that it wasn’t worth it on a financial level. Professional Gladiator deaths in Ancient Rome were actually pretty uncommon for the same reason. Always follow the money, it’ll usually lead you to the right place.

Common Sport Martial Arts:

Boxing (America/Europe), Kickboxing (America/Europe), Savate (France), MMA (Mixed Bag), Sambo (Russia), Judo (Japan), Muay Thai (Thailand), Tae Kwon Do (Korea), Karate (Japan), Pancratium/Mu Tau (Greece), Capoeira (Brazil), Krav Maga (MMA), etc.

Subdual: This is the outlook that focuses on subduing the opponent over killing them. These Martial Arts often focus on joint locks, throws, pressure points, and breaks over general striking, some of them are designed around easy understanding and application; others take much longer to learn. It’s important to remember that the outlook of these practitioners is to injure their opponent just enough to stop them, while they may be prepared to kill, this is not their primary objective nor the goal.

Common Subdual Martial Arts:

Aiki-Jutsu (Japan), Jujutsu (Japan), Tai Chi (China), Chin Na (China), Sambo (Russia), Hapkido (Korea, Korean Law Enforcement), American Law Enforcement Hand to Hand (America), American Law Enforcement Self-Defense (The style taught to civilians in HtH), General Self-Defense (Multiple Non-Military Strains of above MAs), Brazilian Jujutsu (Brazil), Krav Maga Self-Defense, etc.

Lethality: Almost all martial styles were originally lethal ones and with the right training most can be again, but this is about outlook. The practitioner of one of these styles is someone who has been trained to kill, this is their primary objective. So, these are the martial arts that are designed specifically around killing the opponent as quickly as possible. They are the most actively combative of all the different Martial Arts and have suffered the least from degradation into the above sport styles. These are all killing styles and if you choose any of them for your character, it’s important that you understand what that means. There’s nothing worse than a dissonance between a practitioner and their style, especially given what it says about what they were trained to do. A character that practices any of these is trained to kill, full stop. They may be able to restrain themselves, but killing quickly and efficiently once threatened or on command will be the first instinctual reaction. Most of these will be Martial Styles practiced by the Military and Special Forces divisions from around the world.

Common Lethal Martial Arts:

M.A.P. (Marines), Krav Maga (Israeli Defense Force), Sambo (Spetznaz), Systema (The System, Spetznaz), Pentjak Silat (Indonesia), Ninjutsu (Japan), Military Strain Self-Defense, etc.

Always remember: your character’s Martial Art is a reflection of who they are and depending on the background you choose to give them, a part of that will be non-negotiable if they are to be believable. I’ve experienced some training in a Lethal MA (Ninjutsu) and these are very different styles when compared to the rest of the above in both utility and purpose. So please, prepare yourself appropriately.

Tip: How do you know when the actor in the show is an inexperienced fighter?

You watch their feet.

Hollywood Action Movies can fake a lot of things when it comes to actors and combat. The one thing they can’t is footwork.

You want your character to be an experienced fighter? Learn to watch the feet.