Tag Archives: fightwrite

What are the pros and cons of “street fighting”? Like no formal training, somewhat self taught, and for surviving. Can this apply to sword fighting? I’m writing about a character who has formal training but also learned street fighting because they saw some value in it and they find it unpredictable

Since these questions come up a lot, we have tags for #street fighting and #untrained fighter.

It’s worth pointing out that street fighting is just fighting, there’s nothing special associated with it and the idea that it’s unpredictable is… untrue. The true moral of Fight Club is that Fight Club is a stupid expression of toxic masculinity that is worth nothing. Getting beat up a lot doesn’t make you a better fighter. It will give you an endorphin high and sell you on the illusion of your own toughness.

Street fighting is extremely predictable, especially from self-taught fighters. This is because self-taught fighters have a limited move set. A move set that is limited to what they’ve seen in practice by someone else. Today, this means what you see on on television. Whether that’s professional boxing, UFC, WWE, or someone trying to ape the moves of a Hollywood action star like Bruce Lee, Jet Li, Jackie Chan, Chuck Norris, etc.

An untrained swordfighter is even more screwed than untrained hand to hand because sword combat on the street is called dueling and they practice that in the salle.

Your character would actually be more unpredictable via seeking out secondary instruction from “practical” aka practical application or more street minded sources. This can be police self-defense, training in forms like Krav Maga, and others that focus on teaching your character to use what they’ve learned in their studio out in the real world.

The techniques don’t change, but the mentality does.

For a character who has formal training, they’re going to re-learn to use what they already know in a new environment where the stakes are higher. The difference between a recreational martial art and a practical one is what you’re training for rather than the techniques themselves. Changing from one to the other involves changing how your perspective on your environment and learning to evaluate threats as opposed to simply focusing on technique and training for sport or spiritual enlightenment.

All martial arts training revolves around survival on some level.

For a character to “train” in “street fighting”, they’d have to go out and fight on the street. This would involve taking their life in their hands and risking it for… what, exactly? They saw value in going out to beat up/get beat up by random strangers at a bar, in a Fight Club style set up, or something similar to backyard wrestling rings.

This character isn’t actually learning a new fighting style. They’re taking what they know out into the real world to test it. (An act which will get you evicted from most martial arts studios if they catch you, especially if you’re a minor.)

The “unpredictability” of street fighters comes from the fact that most people can’t predict when a fight is about to break out. They don’t see it. They don’t get in the frame of mind for it. They see the aftermath, after the first punch is thrown, and are stuck mentally playing catch up as they’re getting pounded.

The average street fight lasts less than thirty seconds.

Those first few milliseconds at the beginning of a fight are crucial, as is your frame of mind before the first punch is thrown. Getting yourself into the right mindset, ready to defend, and ready to fight means that you’re not going to be blindsided when the time comes to go.

That is the unpredictability of street fighters, though. They’ve learned that the first one to the punch usually wins, they’ve learned that the most aggressive fighter is the successful one. So, they to take the initiative, blindside, and pound. By the time the other person mentally catches up, the fight’s over and they’re either broken on the ground or dead.

“Unpredictable” is just code for “I didn’t expect that”. It isn’t a mystical state that is forever surprising. Through time and experience, the unpredictable becomes predictable for the individual. For the same technique to continue being unpredictable, you need to consistently perform it on those who’ve never seen it before. The street fighter illusion will fall apart fairly quickly because, when you’re working from the basis of the self-taught, street fighting isn’t that complex.

Those with formal training benefit from not only their own experiences, but the experience of their instructors, their instructors’ instructors, and everything else that comes with a martial that has survived for multiple generations. It’s a battle against a multitude of experiences, against a co-operative effort.

I will point out again that combat is a science and utilizes science as a means to kill people. It isn’t part of human nature and natural instinct, it is specifically designed to exploit them.

Street fighting is fighting in an uncontrolled environment, where the risks are higher due to the lack of protections and harm is assured.


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Medical Issues

Those of you who’ve been following us for more than the last couple months have probably noticed our output has been a lot more erratic than usual, lately.

Some of this has just been stress from family issues, that have tended to push our content into dense bursts, but unfortunately, some of this is a medical issue.

For the last month Michi has been experiencing gradually increasing pain in her upper arms and shoulders. We finally went to the doctor’s last week and learned that she has an early case of Carpel Tunnel Syndrome.

In some respects, we’re extremely lucky that we caught it as early as we did, because it’s not severe enough to require surgery, at least yet, and we can work to mitigate some future damage. But, it will require physical therapy, and at present, Michi cannot work at the computer for prolonged periods. Which, unfortunately impacts writing articles for How to Fight Write.

This is especially frustrating for her, because she had just finished research on a fairly extensive article regarding resistance fighters, and was ready to go.

She’s scheduled for physical therapy, which will start next week. We both hope this will help her get back to writing posts here. But, until we know more, she is unable to post.


Writing Exercise #1: Practice Kicks

Using any of the techniques described in Weapon Primer: Basic Kicks describe a fight scene in a place of your choosing. Here are some conditions:

1) Describe the fight scene in a single paragraph (five sentences or less)

2) You must describe the techniques used in the scene without naming them. Use the section in Part 3 on writing for reference and the terminology in the Basic Kicks section if you get stuck.

The goal of this exercise is to get you thinking about the basic body parts involved, where they are going, what they are doing, and what the results are.

Challenge Level: Instead of just using one, use two together as a combination using the same requirements as above.

Tag your attempts with fightwrite, if you do it and feel comfortable publishing it so we can see them.

Below the cut is my attempt. Happy writing!


It was supposed to be easy, Susan thought as Jared came at her. He slashed and the bared blade of the knife slid past her, glistening in the moonlight. She stepped back, hands rising to protect her face. He lunged, driving towards her, eyes wild. Her knee whipped up, leg swinging out and across as she drove the ball of her foot into his ribcage.

Challenge Level:

The bared knife blade in Jared’s hand glistened in the moonlight. Susan stepped back, hands rising to protect her face. He lunged, driving towards her, eyes wild. Her knee whipped up, leg swinging out and across as she plowed the ball of her foot into his ribcage. Spinning around as he stumbled, Susan whipped her back leg up and brought it down on a diagonal, hammering Jared’s left temple with her heel.

Focused Impact Volume 1: A Practical Course In Self-Defense With Tactical Pens (by StaySafeMedia)

We haven’t had a lot of time to come up with anything new. (Moving sucks!) Anyway, I’m leaving this here for you guys. In this video, Michael Janich (a self-defense expert) talks about using a tactical pen (any metal pen will work) as an alternate form of self-defense.

We’re still planning on doing a write up on improvised weapons, but I thought this would be good to get some of you thinking about what sort of weapons a character can carry that won’t be immediately identified.

If you can, watch the video a few times to get an idea, not just on how to fight with a pen, but how to control an attacker.

Notice: when he grabs, he grabs to the upper arm, this greatly limits the possibility of movement by the assailant by eliminating their ability to use their elbow. While the shoulder can be dangerous without the rest of the arm, it’s difficult, especially if you take out the legs. The upper arm also has a pressure point half-way up the inside where the bicep and the triceps connect. This is also why he suggests striking to the inside of the thigh half-way up the upper leg, again, to a pressure point. Also, when he traps the foot while attacking.

These are all ways a smaller, weaker fighter (any fighter really) can nullify the strength advantage and control their opponent’s movements to limit their avenues of attack.

Warning: Please, do not go searching for your pressure points if it’s your first time. The pressure points connect to your nervous system, messing around with them can be highly dangerous to the continual functionality of your body. If you insist, never cross-grab (search for two pressure points on different sides of your body), pick the left or the right, never both. With a cross-grab you’ll send two different signals through your heart, which can get crossways and damage it. So, don’t. Write it only or take a class. This stuff is very dangerous, so always practice under the eye of a trained professional.


The Speculative World: Unusual Martial Art: Street Fighting

The Speculative World: Unusual Martial Art: Street Fighting

Weapon Primer: Archery

With 2012 being jokingly called “Year of the Bow,” it was inevitable that we’d end up doing a primer on it.

The Weapon

The bow is an ancient weapon, it is in fact one of the oldest weapons in the history of mankind. Almost every civilization that has ever existed and perhaps ever will exist has invented the bow in one form or another. It is important then, to note where you choose to draw your inspiration from because there are many varieties of this weapon. Combat with a bow is not unique to any one civilization or society, just as combat tactics have mirrored each other in similarity between different civilizations throughout the centuries. It is also important to remember that unlike other weapons of war, the bow was not invented for the sole purpose of murdering the wielder’s own species. This is a utility weapon, one that is meant to fulfill basic needs such as providing food for survival.

Because of its history, this weapon should be 100% recognizable to any and all serious characters as a dangerous threat. They will know what it is and what it can be used for. This is a weapon that will be noted and noticed by any city guard or local authority, so you’re character better have a damn good excuse for carrying it around (even if it’s not true). In a society that restricts access to weapons, such as futuristic fascist cultures, the bow will not be allowed. The reason for this is that even though the weapon itself may be outdated, it is still a dangerous weapon and any intelligent culture you create will know that and act accordingly.

The bow is still used in modern combat, though it has lost its edge. That said, historically, the bow is not used as a primary weapon for single combat. It has a select set of uses but ones that have it fall short of other weapons like the spear and the sword. The bow takes a great deal of time to master, it lacks flexibility of movement, and a single archer must always be accurate and thus their sighting will be slower. No matter how good your character is, they will always end up in melee, the bow is designed for hunting not killing and there is a vast difference in both technique and tactics between these two approaches.

Historical Bows:

There are many different bows throughout history, many different versions of the longbow and the recurve, many reinventions of the same weapon over and over through time. Some versions are designed for combat on horseback and some are not. So, be specific to which one it is, research how it is cared for, any reader who is familiar with the care and maintenance of this weapon will know if you ignore it. A bow is high maintenance and finicky, you can skip over a lot with some weapons but you can’t with a bow.

An older, wooden bow requires more strength to draw than a modern one. More importantly, the care for the weapon will impact how easily it can be used. Historical bows require a lot of maintenance, even more than their modern counterparts: the wood needs to be oiled frequently, the bow needs to be kept completely dry, transport over long distances requires unstringing and wrapping the bow, finally fletching a half decent arrow involves a lot of skill, even with modern tools and resources. Any responsible archer must be able to fletch their own arrows or risk being unable to use their weapon. This requires a whole skill set, one common in history but harder to come by in more modern times. This is especially important if the character is alone and without resources such as an army or placement in a lord’s household.

The projectiles are just as important as the care and maintenance of the weapon. This is less true in a society or culture where arrows are more readily available for purchase and the bow is a common weapon, but in a world where it is rarer, then the character will have to fend for themselves.

Arrows are weight your character must carry, if they fire the arrow they must retrieve it or lose it. Arrows do not self-replicate through magic. They are a limited resource and that resource must be considered. So, always ask: how much does the character’s gear weigh? How many arrows can they carry in the quiver reasonably without a huge loss of stamina? How do they protect the arrows from the weather? Arrows are made of wood. If wood gets wet it warps. The sinew that holds the arrows will also warp. The metal heads of the arrows will rust. The quiver needs as much careful protection as the bow itself to maintain functionality and combat readiness.

Also: don’t set arrows on fire. It’ll put itself out the minute you fire it. Self-immolation is not a thing your characters signed up for. Though if you want them to for the sake of the story, go right ahead.

(Michi Note: So, when working with or reading about an archer, always stop and ask yourselves a simple question: where do they get their arrows from? If the storyteller cannot answer that or has not put the answer into the text, then they’ve made a critical error. More than that, where are they getting their bowstrings from?)

Modern Bows:

Modern bows are usually either fiberglass composites or the more mechanical, compound bows. Composite bows match the general idea of a classic longbow. Compound bows are the ones using pulley systems. Composite ones require upper body strength, to draw. Compound bows tend to have a catch, early in the draw, where the pulleys take over and the bow’s mechanics take a lot of the draw weight off the archer. Because of the mechanical systems, there’s a lot that can go wrong with a compound, and more than most weapons, mishandling will destroy one.

Most modern arrows are hollow aluminum shafts that are bought pre-fletched and have a plastic nock already mounted. The tips can be easily removed and swapped out for convenience.

Target tips are small pointed cones, about the size of the arrow itself. These are easy to pull from a target, and they’re slightly less likely to deal lethal damage if they catch you.

Hunting tips are flying razor blades. They’re usually three or four blades held at an angle working their way towards a tip. They’re designed to cut arteries as they pass through the target. Most also feature barbs that further tear the meat if something tries to remove the arrow.


Hunting is the traditional use of the bow. The reason for its creation and evolution is pretty simple and most of you can probably guess why. This is: firing a projectile at an animal (such as a boar, a deer, or a buffalo) is much safer than trying to go into melee with it using a spear. Most humans who hunt as a profession (not as a sport) prefer some measure of safety and security in their job. When fighting an animal in close quarters there’s a risk of being gored by a tusk or horn, missing the animal with the spear, or frightening it off which is a waste of time, energy, and resources. It is important, though, to keep in mind that hunting an animal or hunting a herbivore is different from hunting a human or a predator. In nature, most of the hunters we hunt will hunt us in return. (Michi Note: This is part of the reason why we domesticated dogs.)

This usage of the weapon has remained popular among some hunters and is part of the reason why the bow can still be purchased today. The reasons of modern hunters, however, are completely unrelated to its value as a practical weapon. For hunting, the bow is an excellent choice. I’m told that killing game with a gunshot kills result in a different flavor to the meat, and of the two, bow killed meat tastes better. Of course, the people who’ve told me that have been bow hunters, so there’s your caveat.

A lot of bow hunters enjoy the additional challenges in taking an animal down with a bow. It’s a similar mindset to those hunters who use a revolver. That said, when you’re choosing a weapon for its “additional challenge” it’s not something you want to take into a fight.

Historical Combat

Historical bow combat was built around massing archers and using them to send a lot of arrows in the general direction of the enemy. No, seriously. The idea wasn’t to hit a specific enemy, but to put a lot of arrows in their vicinity, and hope that a few would hit something useful. In many ways, archers are more analogous to mortar teams or artillery on a modern battlefield, than snipers, or even riflemen.

A mass regiment or company of archers was incredibly dangerous, especially to cavalry, but they were almost never in amongst the footmen or on the front lines. The medieval combat disposition was to put a line of skirmishers in front of the archers to protect them from enemy infantry. This is because the bow really does suck in close combat and has no real defensive capability.

Modern Combat

There are a few places where bows excel over firearms: armor penetration and stealth. A skilled bow user can easily dispatch heavily armed and armored opposition, provided they can remain undetected.

That undetected part can be a real problem. The bow is very sensitive to movement by the shooter, meaning it’s impossible to fire on the go. Arrows are more sensitive to air movement and have a sharper ballistic trajectory than bullets, meaning it’s harder to fire quickly and accurately. This means that once a combatant is seen, their bow becomes dead weight, very fragile dead weight.

Finally bows are very short range (compared to modern firearms). You’re working with around 20 to 80 feet, or within shotgun range, meaning they need to get uncomfortably close to their enemy to use it, increasing the risk of detection.


Even when hunting tips sever arteries, arrow wounds take a long time to kill. Tracking animals for hours, after they’ve been shot, is fairly common for modern bow hunters.

Arrows tend to seal up the injuries they create, a lot like knife wounds, so even if your archer severed something vital, it’s entirely possible that the character they’re trying to kill will survive for hours. There are confirmed cases, in the modern world, where people have taken an arrow, and survived for ten to twenty hours before receiving medical attention.

So, if your character is shot with an arrow, please do not have them rip it out. Much like the knife, the projectile must be removed carefully or stay within the body to prevent the character from bleeding out. Also, an arrowhead can do as much damage leaving the body as it did going in, so research how to remove an arrow or your character will die, if they don’t already die from infection in a medieval, fantasy, or even a modern day/futuristic setting. (Michi Note: GERMS!)

Character Options:

More than most weapons, bows represent a major commitment when constructing your character. It takes a lot of time and dedication to become proficient with a bow outside of combat, and it can easily take a character’s entire life to truly master the use of one.

In fantasy settings, you can pretty easily give the bow to any adult who spends a lot of time in the wilderness and lives off the land or hunts for a living. In a fantasy setting where firearms exist, bows become less common as guns become more accessible. These characters are more likely to use an axe or sword for actual combat, even if they have a firearm, instead of a bow.

In most historical or fantasy settings, you can have professionally trained archers, who operate as part larger military force. Just remember, these characters will have been trained to fire arrows over longer distances, without any real accuracy. As with the above option, these characters will gradually phase out as guns become more common. Historically: firearms started appearing in Europe and the Middle East in the 14th century.

In a modern setting, you’re basically left with bow hunters, and sport shooting enthusiasts. For these characters, they choose the bow deliberately, over more convenient methods of killing because they enjoy the challenge, prefer the purity, or like the idea of being self-sufficient.

In a post apocalyptic setting where bullets are hard to obtain or produce, the bow has some potential, both in the historical military applications, and for hunting.

In a distant future setting, a variation of the bow might make sense for its stealth and armor penetration aspects, particularly if characters are outfitted with equipment or implants that allows them to aim and fire more efficiently.

In a horror setting with traditional vampires, the bow might be an effective choice for vampire hunters, though, at that point, modern crossbows would probably be a better weapon choice.

I’m just going to go out and say, in a fascist/dystopic setting, unless bows are explicitly permitted or regulated, they’re a very poor weapon choice, because of the difficulty in concealing them, and the amount of training and practice required to gain proficiency with one. (Michi Note: the recognizability and difficulty in concealing them is the kicker here, it’s better to go with a weapon like the sling or the slingshot which is still quite dangerous but considered to be a children’s toy by many, so the adults will be more willing to overlook it and it’s much easier to hide.)


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!

Fuck Yeah Character Development!: Profession v. Personality

Fuck Yeah Character Development!: Profession v. Personality

Illusion versus Reality: Some Thoughts on Media Fight Sequences

It’s important to remember that most of the conventional wisdom about force application we have in popular culture comes from observations made about various sport styles and exhibition fighting, such as in movies and staged fights at martial arts tournaments. The assumption becomes that those moves were chosen to be allowed because they are more effective, not less. The problem though with that assumption is that while goal of fighting is to win, it’s also to do so with relative safety and not kill the opponent. Injure, wound, and maim perhaps, but again not kill.

The same is true for both tournament demonstration and media in general. When it comes to evaluating whether a television show, a video on the internet, or what they see at a tournament demonstration will be useful for imagining and creating fight scenes, a creator is required to keep three things in mind:

1) The decision on what techniques to use is primarily governed by what will look good on screen or on the floor and not practicality.

2) The action is safe for the performer to demonstrate without injury to themselves under extremely controlled circumstances. In media, this works double for the actor, the stunt double, and their work with the stunt coordinator.

3) The goal is to create something convincing for the audience, not something that is actually reflective of reality.

It’s important to remember that in demonstration performances and movies that there’s a lot of work, sometimes days, weeks, and even months that goes into crafting those scenes, preparing the actors, and putting together the performance. The other important thing to remember is that because movies and demonstrations are primarily an illusion, they can get away with a great deal more than the human body actually can in their action sequences. These fights are designed around the audience being able to follow the action, but even the best of them are often horribly impractical by design. Many authors when they try to write fight scenes look to movies, comics, and video games for easily accessible action that they can translate into their stories and that’s fine. The only problem is that often, because they are unfamiliar with physical action they end up including the same flaws from the movies into their books.

In a movie, the fight scenes are actually long exhibition fights that have been cut together into a single sequence. This means that on film, even after the editing of the fight, you get unnatural pauses where the stuntmen/women are resetting their positions and essentially taking a breather before they move on to the next action sequence. The reason for this, of course, is that if you just forced the stuntmen to continuously run, they’d keel over from exhaustion about half-way through. If an author does not step back and examine the action from an external perspective, they run a real risk of including these same flaws into their novel. There are plenty of examples in already published works where this happens and they are easy to find, once you know what to look for.

Divergent for example, is a major offender. So is City of Bones, for obvious reasons. The combat in Marie Brennan’s Warrior is essentially a Turn Based RPG. YA in general has a great many authors chasing after Joss Whedon and thus invoking the Whedon/Comic Book problem where they stand around talking and then they fight, then they stop and talk, and then they fight, and then they circle, and then again, they fight. Tamora Pierce is one of the few authors in the YA genre I can point to that escapes this trap, but then she knows what she’s talking about and it shows.

I (Michi) will also cop to having the Whedon problem, I watched (and loved) a great many Whedon shows when I was younger and the internalization of a lot of his flaws as well as his successes is something I struggle regularly against even when I should know better.

Remember, all media feeds into each other and into the culture at large. When looking at media for reference, it’s important to not only look at the internal consistencies, plot, and characters but also the outside motivations of what, why, and reality’s constrictions. Written work reflects, not just into other novels, but also into movies, television, video games, and comic books. So, it’s important to evaluate the constraints of the media you’re working with and its flaws while transferring some of the actions and ideas into your work.

What will work well in a visually medium for action doesn’t weather well on the page, nor will it pass the scratch and sniff test when it passes before someone who knows what to look for when dealing with fighters and fighting. So, the goal is to work toward generating the emotions in your audience that we experience when watching a well put together action sequence through a different avenue than what the director and stunt choreographer created for the movie itself.

As always, there are exceptions to every rule and there are a great many movies and television shows that work excellently as reference material. These are just some basic things to think about when looking at media for reference and some of the dangers that are associated with taking stuff wholesale without examining it from all aspects.

On the subject of RPGs and writing, Starke and I are putting together a reference article dealing with the merits and flaws of Pencil and Paper RPGs when working with characters and fight sequences. So heads up Brennan fans, we’ll be talking more about Warrior in that article.

This was supposed to be the Open Hand Primer but I ended up getting sidetracked with a tangent, it’s coming soon, I promise.

As always, happy writing!

Love this blog, realistic fighting is one thing you can’t get a feel for from research. Do you have any recommendations for things to keep in mind when two people are fighting as a team against several bad guys? Assuming the two train together and fight together fairly often.

The tactics will change substantially between characters and situation depending on whether or not they’re carrying guns or were trained in a military context. I say military over police or FBI because the military training is all about protecting, defending, and attacking as a unit, not as an individual. Since yours are probably not and I’m guessing you mean hand to hand, I’ll give my advice from that outlook.

Assuming your two characters view each other as evenly matched (and one won’t try to take the brunt of the opposing force on their own), they’re more likely to know each others weaknesses and trust in each others strengths. There will be a level of trust there that will for the most part ensure that they won’t get in each others way.

And while fighting back to back sounds good in theory (it looks great in a movie!) but in a group, it’s terrible. Because of the amount of pushing and jostling that goes on and because standing still is an unbelievably bad idea (unless you’re an Aikido or Tai Chi practioner), they’re more likely to split a group of enemies up evenly by pulling them off in different directions and fighting alone. This way, they’ll be free to drag their own opponents into each other without having to worry about screwing over their partner by accident (and accidents always happen). Remember, in hand to hand, a character can only really reliably fight one opponent at a time, so when fighting against groups, it’s a lot of bouncing around trying to get their opponents to hit each other instead of them, so they can conserve energy.

It also gives you the opportunity to build in narrative tension if there’s an uneven number of opponents, if the opponents in one fight are more coordinated than usual and refuse to be baited from going after their primary target, and things start going south. Remember, bad guys, even one-off ones are people too and some of them also have a history of fighting together. You can get a lot with just a little work on random mook motivation.

As with anything, the more opponents there are, the greater the chance for failure. To stay realistic, try to keep it between four or six (two and three per fighter). Finally, it’s important to keep in mind in fights that things always go wrong or in an unexpected direction on some level for both parties. The personalities of your characters and their own fighting outlook will affect the fight just as much as their technique. A good fighter doesn’t play around with their opponent, but a lot do anyway.