#and you can generally one hand a longsword if you want to

[superdaisypowerhour]

There are two schools of thought on the locked tomb series; there are the people who took tazmuir at her word when she said gideon had a longsword and drew it as such; then there are the people who know what a longsword is and know that the thing gideon swings is at the bare minimum a fucking claymore.

[hayatheauthor]

Have u done a post on anatomy of swordfight? Or like weapons in general. I have a lot of different weapons planned out: bow, different types of swords, daggers, shields, spears, etc. I can't find a single proper guide explaining how to write fight scenes for these that make sense.

The Anatomy of Writing a Sword Fight

Thank you for the ask! I really love your ideas/reqs and will be making at least 2 more blogs as a reply to this ask (that will cover bows etc). For now I've gone with swordfights.

This guide dives into the technical aspects of sword fighting—from the types of swords and injuries to the medical realities of treating these wounds.

My long-form posts are usually filled with long detailed paras but this time I wanted to focus more on the 'facts' and had a lot of things to cover so I stuck to concise pointers for each area. That being said, feel free to ask follow-up questions if needed!

Understanding the Blades

Firstly, here's a quick breakdown on the types of swords and their impact on injuries

Longswords Longswords are double-edged, straight blades often used with two hands. They cause deep slashes capable of severing muscles and tendons, and thrusts that can puncture organs or arteries. Heavy blows can also break bones.

Rapiers Rapiers are thin, pointed blades designed for thrusting. They cause precise punctures targeting vital organs or arteries. Less effective for slashing but deadly in skilled hands.

Katanas Katanas are curved, single-edged blades optimized for slicing. Their shape allows for those gory slashes that can amputate limbs or expose bones. Thrusts can also be fatal.

Sabers A saber is a curved blade with one sharp edge, typically used on horseback. These blades are designed for slashing, often causing wide, shallow wounds.

Short Swords and Daggers Smaller blades that are used for close combat can sometimes fall under the sword umbrella based on their shape and length. A Jambiya for example is categorised as a 'short sword'. These work for deep puncture wounds in tight quarters. Can sever arteries or puncture the heart or lungs.

In short, the design influences the wounds. Remember: 

Straight blades are versatile, causing both slashes and thrusts.

Curved blades focus on slicing, leaving gaping wounds.

Thin blades like rapiers target precision strikes to critical areas.

Types of Sword Injuries

As mentioned above I'm trying to cut to the chase with this blog so for each injury type, I've covered what I think are the key points. These are the appearance, severity, blood loss caused by this type of wound, and pain levels. I think these four basically cover everything a writer needs to know when picking their poison. 

Slash Wounds

Appearance: Long, open cuts with jagged or clean edges depending on the blade.

Severity: Superficial slashes may damage only the skin and fat layers, but deeper cuts sever muscles, tendons, and even arteries.

Blood Loss: Significant, especially if major arteries like the femoral (thigh) or brachial (arm) are cut.

Pain: Immediate burning or stinging, with sharp increases if nerves are involved.

Thrust Wounds

Appearance: Small entry wounds but potentially deep and catastrophic internal damage.

Severity: Can puncture vital organs such as the heart, lungs, liver, or intestines.

Blood Loss: Often internal, leading to hidden dangers like haemorrhaging or collapsed lungs.

Pain: Stabbing pains that radiate outward, especially if organs are pierced.

Blunt Force Injuries

Appearance: Bruising, swelling, or fractures from strikes with the flat side or hilt.

Severity: Can lead to broken bones, ruptured vessels, or concussions.

Blood Loss: Minimal unless skin is broken.

Pain: Deep aches or sharp, localized pain from fractures.

Assessing the Severity of Wounds

When assessing the severity of a wound, there are a few important things to keep in mind. To make it easier, I've put together a quick checklist to help you out.

Location: Wounds to the head, neck, or chest are often life-threatening. Injuries to limbs are less fatal but can lead to significant blood loss.

Depth: Shallow cuts are often cosmetic but painful. Deep wounds risk severing arteries, damaging organs, or causing fractures.

Angle: Oblique cuts may glance off bones or armor. Direct thrusts to unprotected areas are far more dangerous.

What Happens When Each Area is Wounded

It's kind of a given that each area of the body is different and would thus cause different reactions when pierced. While many writers stick to the 'blood dripping from the mouth, hand desperately clutching the wound' look, I think it's a good idea to consider the medicinal side of your injuries.

Are there arteries in this area? Vital organs? Muscle and tissue? Here's a quick breakdown of those questions (no I haven’t mentioned every area or organ of the body):  

Limbs

Forearms and Upper Arms: Severing the brachial artery results in rapid blood loss. Cuts to tendons disable grip strength or arm movement.

Thighs: The femoral artery is a critical target. Damage here leads to exsanguination within minutes if untreated.

Calves and Feet: While less life-threatening, injuries here severely limit mobility and can cause nerve damage leading to paralysis.

Abdomen

Liver: Heavy bleeding due to its vascularity. Potentially fatal without intervention.

Stomach: Leakage of acidic contents causes severe internal infections.

Intestines: Punctures lead to sepsis from spilled waste material.

Kidneys: Severe back pain and rapid blood loss from renal artery damage.

Chest

Lungs: Punctures cause pneumothorax (collapsed lung), leading to difficulty breathing and chest pain.

Heart: Even small cuts are often fatal due to rapid blood loss and cardiac tamponade (fluid pressure around the heart).

Ribs: Fractures can puncture lungs or other organs.

Neck

Jugular Vein or Carotid Artery: Severing either leads to death in under two minutes from blood loss.

Trachea: Obstruction causes immediate respiratory distress.

Spinal Cord: Severance leads to paralysis or death.

Back

Spinal Cord: Injuries vary from numbness to total paralysis depending on the location.

Kidneys: Vulnerable to back stabs; severe bleeding and pain radiating to the abdomen.

Face/Head

Cheeks: Slashes leave disfiguring scars but are rarely fatal.

Eyes: Punctures result in blindness and intense pain.

Skull: Blunt force may cause concussions or fractures; penetrating wounds can be fatal if they reach the brain.

Treating Sword Fight Injuries

In the chaos of a sword fight, providing immediate care can mean the difference between life and death. The first priority is to stop the bleeding. For deep cuts or arterial wounds, use a clean cloth or pressure bandage to compress the injury. If the bleeding doesn’t subside, especially in limb injuries, apply a tourniquet above the wound, ensuring it’s tight enough to restrict blood flow without causing further damage. 

Once bleeding is controlled, stabilize the victim. Immobilize fractures with makeshift splints, and in cases of suspected spinal injuries, avoid moving the victim unnecessarily to prevent exacerbating the damage. Finally, cleaning the wound is critical to minimize infection risks. Remove debris carefully and irrigate the wound with clean water if possible. Though battlefield medicine is rudimentary, these steps provide a fighting chance for survival.

Also, one thing people forget to go over is temperature. Keeping the victim warm is essential, as blood loss can lead to hypovolemic shock, which compromises the body’s ability to circulate oxygen. 

Historical vs. Modern Treatment

The approach to sword fight injuries varies dramatically between historical and modern contexts. While I can’t completely break down the differences, here’s (what I hope) is a quick overview that will aid in your research. 

Historically, treating wounds was rudimentary at best. Herbal poultices were applied to reduce inflammation, and cauterization—burning the wound to seal it—was a common but agonizing method to prevent bleeding and infection. Stitching techniques were crude, and the lack of sterilization meant infections like sepsis or gangrene were often fatal. 

Fret not, modern medicine offers a more hopeful prognosis. Sterile wound care, antibiotics, and surgical interventions allow for precise repairs to severed arteries, muscles, or organs. Advanced imaging technology can assess internal injuries, while blood transfusions and IV fluids combat shock effectively. 

This just underscores how important it is for writers to consider what timeline their story is set in. Sorry but your medieval prince won’t just have a full recovery after suffering a brutal gash, especially not if his only source of medicine was love interest’s xyz solution. Infections are a very real issue. In fact, most deaths during that time were due to infection. Do your research.

The Psychological Aftermath

The aftermath of surviving a sword fight extends far beyond physical wounds, leaving lasting emotional and psychological scars. Many survivors experience trauma or PTSD, manifesting as flashbacks to the battle, vivid nightmares, or an overwhelming sense of anxiety, especially in situations that trigger memories of the fight. I would absolutely love to see people incorporate this in their writing! If your modern OCs can get flashbacks and nightmares after a single gun altercation what makes you think the medieval ones won’t experience something similar? 

Survivor’s guilt is another common burden, particularly if the character witnessed comrades die or was forced to make life-and-death decisions during combat. These emotional struggles can deeply shape their personality, making them more cautious, resentful, or even vengeful. Villain arc here we come! 

One thing to remember; physical limitations compound the psychological toll. Permanent injuries like chronic pain, reduced mobility, or disfigurement can remind a character daily of their ordeal, influencing how they interact with others and navigate the world.

As a writer it’s important to take recovery into account. Exploring these aspects adds depth to the character’s recovery arc, making their journey more relatable and human. 

Remember folks; a sword fight isn’t just a moment of action—it’s a fight as brutal and dangerous as any knife or gun altercation you can think of (if not worse). 

Crafting the Fight Scene

To end this blog, here are my (and various Google articles’) two cents on what you should be focusing on/keeping in mind during a swordfight. 

Writing a compelling sword fight requires balancing technical accuracy with emotional resonance. Pacing is key: alternate between rapid exchanges of blows and brief pauses to allow tension to build. These pauses provide an opportunity to describe a character’s thoughts, pain, or strategic planning. 

Sensory details bring the scene to life—capture the sharp clash of steel, the metallic tang of blood in the air, the searing pain of a wound, and the slickness of a sweat-soaked grip on a sword hilt.

Focus on the characters themselves to make the scene more engaging. Highlight their emotions, such as fear, determination, or desperation, alongside the physical toll of the fight. Show how fatigue sets in, how their breathing becomes labored, and how every swing of the blade drains their strength. 

Injuries should be portrayed realistically; instead of dismissing wounds as minor setbacks, use them to heighten tension. A cut to the leg might slow a character’s movements, while a stab to the shoulder could make wielding their weapon excruciating. 

Balancing these elements ensures your fight scenes are not only thrilling but also grounded in a visceral reality.

Resources for Writers

Books:

"The Book of the Sword" by Richard Francis Burton

"Medieval Swordsmanship" by John Clements

Videos:

YouTube channels like "Skallagrim" and "Scholagladiatoria" for sword reviews and techniques.They’re very helpful for all sorts of weapons actually so OP I think you should consider stalking their channels you’d find a TON of info (I get most of mine from them lol). 

Articles:

I don’t have any precise ones but to boost your research consider medical journals on trauma and wound care. Oh and historical accounts of duels and battles.

[mactiir]

sword misconceptions pt 1: longsword

Post series: shortsword | rapier | buckler | dagger | spear

so as I'm getting back into fantasy lit as a historical fencer, there are a lot of things I am noticing cropping up in swordfights that are inaccurate or flat out wrong. So i wanted to write a post for my fellow writers putting down a few things I've learned in 2.5 years of swinging the actual weapons around!

Disclaimer: i am not an expert. Additionally, many of the historical terms for weapons were not standardized (there was no "one" longsword/rapier/shortsword etc when we're talking about a weapon that existed for hundreds of years across an entire continent) so what I'm discussing under the cut is specific to the late medieval/early Renaissance European two-handed weapon with a simple hilt/crossguard and with a blade length around 3 feet -- what D&D calls the longsword, or in older editions the bastard sword (although if we want to get picky about it, bastard swords should have shorter handles than longswords -- but I wrote this post as a writing reference so names are beside the point. you can call the swords whatever you want in your story, anyway).

Misconception 1: longswords are heavy.

Older editions of D&D had these weapons at 6 pounds, which is about 2x too heavy. 5e has them at 3 pounds, which is exactly right. Your average longsword is between 2 and 4 pounds, and a well-made one will be balanced such that you barely feel it. Pound for pound, they are heavier than almost all one handed weapons (except some rapiers but we'll talk about that later), but between their balance and the fact you wield them in both hands, their weight is likely not going to be a prohibiting factor for most characters. Everyone who can pick up a wooden baseball bat can pick a longsword up and swing it. A weak or out of shape character will struggle for wielding it for lengths of time, though.

Misconception 2: longswords are slow.

You're 1) thinking of a zweihander and 2)zweihanders aren't slow, either, but we'll get to that later. Longswords, wielded properly in both hands, are lightning fast, with a skilled fencer that's opened their opponent's defense often able to land 2-4 hits before a director even registers the first hit and calls "halt". And there are two components to speed: actual velocity, and distance. Longswords are -- well, long. Even if you can't swing it as fast as a little knife, the fact that it's three feet long means you're closing to target much faster compared with a shorter weapon, because you don't have to do as much footwork to get into, or out of, striking range.

Misconception 3: you can wield a longsword in one or both hands.

I mean, you could. But a one-handed wield robs a longsword of a lot of its dexterity, grace, precision, and yes -- power. You want two hands on this thing. Your dominant hand goes closer to the crossguard and it's what generates your power and edge alignment. Your offhand on or near the pommel is where your dexterity and fine steering is. Switching or removing either of these hands feels weird and you are also way more likely to get disarmed just by trying to parry with one hand.

Misconception 4: swordfights are about dodging.

You have two realistic options when someone is swinging a longsword at you: parry or step out of range. You do not duck. You do not jump. You do not sway, roll, or do backbends. All of these things will 1) rob you of necessary structure to riposte, 2) leave you wide open for a renewed attack or remise, and 3) leave your most important tool for not getting hit -- your SWORD -- too far off target to help you. Yes, all of these things look super cool and may fit depending on your style and setting. But if you're going for realism, YOU PARRY.

Misconception 5: you can be fast or strong but not both.

Ok, this is more a pet peeve about martial arts in general but: you cannot be fast without a certain base amount of muscle. You CANNOT. Small people with no muscle are slow. They have to take huge, looping cuts to compensate for their lack of muscle and leave huge openings while they do it. Small people who do well at the sport are often very quick because they have to train the heck out of footwork to outwork bigger opponents, but that only comes with TRAINING. It's not a "small people are automatically dex builds" thing. And while big muscly guys are often slower, they also 1) have less distance to move to close to target, which makes them "faster" even if they are moving a tad slower and 2) they're also often fast as balls, so you can judge virtually nothing about an opponent based on their body type except for their reach. A good, big longsword fencer will often have really fast handwork because most don't do well in longsword fencing without speed.

Let me know if there are any lingering questions I missed! I may think of more later, but I hope this was helpful for now :)

[rookinthecrownest]

Bedtime Stories For a Demon, Night 2: Swan Lake (Lucanis x Rook Fanfic)

The next night, Lucanis finds himself arranging a few plates on the dining table ahead of Rook’s planned arrival. He arranges, then rearranges, doubts what he made, or if it was weird thing to do in general. But he remembers his conversation with Neve from earlier in the day, and that seems to hold his nerves steady for the time being.

He had walked into her office-room with a question. And Neve, unsurprisingly, knew exactly what that question was before he even got to her front door. She was a damn good detective, he had to give her that.

“Planning something special for Rook?” she asked coyly.

“You know her better than I do” He admitted, scratching the side of his beard. “She’s … helping me. I want to do something nice for her”

“Is that all?” Neve quirked a brow and leaned back in her chair. An errant wisp floated by her hair, which she quickly swatted away gently.

Lucanis frowned. “Yes. That is all. Just tell me what I should make for her”

Neve crossed her arms, “Information rarely comes free in Minrathous”

“We’re not in Minrathous” he pointed out.

“You can take the girl out of the city, but you can’t take the city out of the girl” she said wistfully, closing her eyes and grinning.

Lucanis groaned and ran a hand down his face. “Fine, what do you want”

“Fried fish for dinner tomorrow night”

“I was going to make Paella tomorrow night”

“Well, now you’re making fried fish” Neve quipped.

“Mierda, alright. But I’m also making vegetables” He pointed at her, “You people need to get better eating habits”

Neve grinned and steepled her fingers together, then leaned forward on her desk. “Make the churros again. You might not have noticed her sneaking an extra one or… five, during dinner, but I certainly did. She wouldn’t stop talking about them the day after you made them”

“Churros” He repeated thoughtfully, as he rubbed his beard. He could do that. He should still have some ingredients left over from the first time he made them last week.

Rook likes sweet things. Smells like sweet things. Spite echoed in his head. He ignored that.

“Thank you, Neve” He gave her a curt nod before he turned to leave. “There will be fresh coffee in the dining hall in a few minutes if you’ve a mind for a real cup of it.” He called over his shoulder.

Lucanis left to her chuckling behind him and closed the door to her office. He had spent the rest of the day gathering supplies, and later in the evening when he was certain the team was asleep, he began preparing. The routine of baking and cooking was as calming as sharpening his longsword on a whetstone. Slow, methodical, rhythmic. But unlike sharpening his swords and knives, the end product was something that could bring joy, rather than misery and death. He tries to hang on to that.

When he finishes the churros, he decides that’s not enough. He makes a chocolate sauce to go with the churros. But maybe she prefers caramel? He should have asked Neve. So, he makes a caramel sauce as well. Then, he wants to see if she’ll like cioccolata calda and starts preparing that. It’s fairly late in the evening when he finishes the croissants he wasn’t planning on baking.

No sign of Rook yet.

He’s not sure when he started pacing with his second cup of coffee in hand.

She had accompanied Bellara to Arlathan – something about Veil Jumpers going missing deep in the forest. He shouldn’t worry. He’s seen Rook fight, she’s more than capable. But she does have a certain recklessness to her way of fighting. No - he doesn’t need to worry. He isn’t worrying.

He continues pacing. Then, he’s once again finding flaws with his arrangement of the desserts on the table. Would she find this strange? Too much? Off-putting, and not in a charming way but an unsettling way? Was there even a way to be charmingly off-putting?

He's pacing again.

“Am I interrupting something?”

He stops in his tracks.

Her voice has caught him off guard two nights in a row. That is a problem.

“Rook” He says stupidly.

“Hi” She waves meekly, and limps into the dining hall with a groan. She’s dragging her left foot on the ground. “Sorry I’m late – ran into trouble in Arlathan.”

He takes a few tentative steps closer. He wants to extend his hand, but some unknown force keeps it to his side, his entire body wound tighter than Harding’s bowstring.

If his body won’t move, his mouth will have to pay the balance.

“What happened? Are you alright?”

Rook winces and draws closer to the large wooden table.

“Rage demon” she answers, pulling out a chair by the fireplace “And I’m happy to report it lived up to its name! It wasn’t very happy to see us”

He pulls out a chair beside her. She turns to him and laughs bitterly, “Have you ever been burned and stabbed on a job? Because I found out what that feels like today, and it’s kind of awful. Thankfully Bellara was able to patch me up”

Lucanis looks down at her left leg. Whatever injury she sustained is covered by her pants, but he can surmise from the way she’s shifting nearly all her weight onto the other leg it must have been bad.

“You leave your left flank wide open when you fight” he says, absent-mindedly. And immediately wishes he hadn’t.

“What?”

Mierda.

“You have a habit of leaving your left flank open.” He says quickly, then looks into the fire. Anywhere but her confused face. “Something I’ve noticed on the field.”

He feels her staring. He’s said something he shouldn’t have said. He doesn’t know how to right it other than by offering her food as a distraction. Lucanis turns to his handiwork and reaches for the bowl of churros, all but thrusting it in front of her.

“Churro?” He asks hopefully.

If Rook is taken aback by the odd exchange, she has the manners not to say anything. She blinks twice and looks down at the dessert.

“You made this for me?” She tilts her head.

Lucanis rubs the back of his neck.

“I … yes” He sets the bowl back on the table after she gingerly takes one in her hand. He wonders if they’re as soft to touch as they appear. “I thought dessert might pair well with your stories”

Rook chuckles, and leans in closer “It’s a good thought”

Smells like Blood and Ashes and Brimstone, Spite’s anger reverberates through his chest. She’s supposed to smell like sweet things.

For once he’s grateful for the demon’s interjection as it keeps him from staring at her while she eats the churro. And licks the cinnamon sugar from her lips. He shouldn’t be paying attention to this.

“Mmm” she sighs, an expression of serene delight passing over her features. His chest tightens.

Rook grins, oblivious to the effect she has on him, “These are dangerous you know- you can’t keep making them for me or it’ll be all I’ll eat”

Lucanis sighs and pushes the chocolate and caramel sauces towards her. “You and Neve are peas in a pod evidently.”

Rook squeals in delight and wastes no time dipping the dessert into the chocolate sauce.

She prefers chocolate.

“So” He starts, awkwardly shifting in his seat, “What tale will you tell tonight?”

He pretends not to notice her wiping a smear of chocolate sauce from the corner of her lip with her finger.

“Oh, right” She reaches into her side pocket and pulls out the small journal. Rook flips through its pages, humming thoughtfully. She lands on a page near the end of the journal before stopping.

“This might be a good one.” Rook snaps the journal shut and places on the table beside her. “Have you ever heard the tale of Swan Lake?”

Even if he had, he would say no. If she wants to tell him a story, he won’t sway her.

“The original story is from Nevarra, but it was adapted into an Orlesian ballet some time ago” Rook continues, not giving him a chance to answer before barreling ahead with her explanation. “Apparently it was one of Emperor Judicael’s favourites. He liked it so much he had the ballet house play it nearly every night, and producers of the other ballet’s threatened to quit en masse. It was so bad, the play was actually banned in Orlais for about fifty years because of that whole debacle. Caused quite the scandal”

“Must be a good ballet” He remarks, before getting up from his seat. “Wait here for a moment, Rook”

Rook nods and reaches for another churro, “Sure”.

Lucanis returns with two steaming cups and passes one to Rook. She takes it gratefully and lifts the warm beverage to her nose. “Mmm! What is this? Smell’s divine”

“Cioccolata Calda. An Antivan specialty”

“Is it coffee?”

“Try it”

Rook does as she’s told and takes a curious sip. Her eyes widen and her lips split into a large smile. “That is amazing. I think I have a new favourite drink”

“They make it better at Café Pietra, but this will do for tonight” Lucanis sits back down and takes a sip of his own cup. It’s a little too sweet for him, but the look on her face assures him it was a good call. “If we find ourselves in Treviso again, we can –“

“I like the way you make things” Rook says quietly, gripping her cup a bit tighter. She’s looking down at her cup, and it’s probably for the better. He is certain the tips of his ears are a furious shade of red.

“Thank you” He whispers, after a few moments of quiet pass between the two. “That’s… very kind of you to say”

“You’re welcome” She replies, crossing her legs in her seat like she did yesterday. She looks like she wants to say something else, but a quick shake of her head and a clap of her hands brings her focus back to the reason she came here.

“Okay, umm, let’s see here” Rook’s gentle features twist in concentration.

Her hands begin glowing with that familiar blue light, and as she raises her arms and gives a flourish with her left hand.

A castle once again fills the empty space between their chairs. This one has a central dome surrounded by four gilded towers with pointed roofs – different in style and architecture from the one yesterday, but no less impressive.

“Once upon a time, in a kingdom far, far away, there lived a handsome and gentle prince by the name of Siegfried”

The castle ripples out of existence, and in its place, is the form of a young man with short, cropped hair, a broad chest, and a large bow on his back.

“Prince Siegfried was one of the most accomplished hunters in the kingdom. It was said he could hit any mark, no matter the distance. His aim would always be true. Some versions of the story mention his crossbow being enchanted, others chalk it up to pure skill. Either way, he’s a good shot” Rook grins and makes the figure of the Prince aim an arrow right at Lucanis’ chest with a crook of her finger.

Lucanis raises an eyebrow and holds his hands up in mock defense, “Tell the Prince he should stick to animals – I might be above his paygrade”

Rook bursts out into laughter and as her concentration breaks for a moment, the image of the Prince flickers in and out of existence.

“Sorry, carry on.” Lucanis smiles as she rights herself in her seat and places her hands back into position.

“Yes – where was I?” Rook flicks her wrist, and the Prince is back in view. This time, he’s joined by another figure. A tall woman, dressed in a long, flowing dress with an ornate crown on her head, comes to stand next to him.

“His mother, the Dowager Queen, comes to inform him of an upcoming ball that will be held at the royal palace. ‘At this ball, my son, you will choose a royal bride. For I am late in my years and wish to see grandchildren in these palace halls before I depart’” As before, the Queen’s mouth moves in rhythm with Rook’s words – like magical ventriloquism.

Rook waves her hand and the Queen disappears. The form of the prince cradles his head in his hands.

“The Prince is despondent at this news. He wanted to marry for love, not political power. Surely, he has a right to his own heart, at least?” The Prince sinks to his knees and stays like that for a few moments.

Another flourish from Rook, and a new figure appears. Shorter, portlier than the Prince, but with kinder features.

“His friend Benno sees how upset he is, and wonders how he can help cheer up the Prince”

Both figures disappear as Rook pauses to take a sip of her hot chocolate. He tries to ignore Spite’s impatient rippling at the edges of his consciousness.

Siegfried and Benno return soon thereafter.

“Benno looks out the window, and happens to see a flock of swans flying outside”

Rook waves the swans into existence, and they flit around Siegfried and Benno in circles before disappearing. The figure of Benno tugs on the prince’s shoulder sleeve.

“‘Your highness, a hunt!’ he exclaims, pointing out the window” The figure of the prince straightens, his interest piqued by the animals.

“Benno gathers a few other men from the castle, and along with the prince, they all ride out to the forest to hunt the swans”

The scene changes to Benno, Siegfried, and three other men riding horseback through a dense forest canopy. He will always be in awe of the imagery she’s able to bring to life with her magic. Never in a hundred years would he have thought of using magic in this way. Then again, Rook is anything but a typical mage, so he shouldn’t be surprised.

“At some point, Prince Siegfried becomes separated from the group”

One by one, Benno and the other men disappear, until only the prince remains, trotting horseback through the air on the spot.

“He comes to the lakeside clearing and finds the flock of swans.” The swans reappear, now floating on the edge of an invisible lake. The figure of the Prince draws his crossbow and pulls an arrow from the quiver. As he nocks the arrow, one of the swans transforms into a beautiful young woman. She has a long plait of hair spilling over her left shoulder. She’s wearing what Lucanis assumes, from its puffy construction, a ballet dress. The skirts are feathered, and feathers even fall from the dress, winking out of existence moments later.

He leans in closer to observe the finer details.

“You have quite the imagination, Rook” Lucanis smiles at her.

She returns it in kind and brushes a stray curl behind her ear. She looks shy, almost, and like she’s avoiding looking at him. “Some say over-active”

“I think it’s just right” He pulls back and takes a sip of his own hot chocolate.

“Thanks…” She whispers, drawing her legs closer together. When she sees her figures flickering again, Rook’s brows bunch together and the blue light in her hands grows brighter.

“The … ah … the Prince was so transfixed by her beauty and grace, he had to know more about her”

The figure of the prince begins moving closer to the woman, but the woman begins to back away.

“But she was frightened, for she did not know this man, and feared the crossbow in his hands”

“‘Wait!’ The prince calls just before she leaves his sight” The prince holds out his hand and tosses his crossbow to the ground. Well, the air. “‘Please stay, I’ve not a mind to hurt you. Won’t you tell me who you are?’”

The young woman stops and rests her hand on her chest.

“‘My name is Odette, and I cannot leave this place’”

“Why?” Lucanis is leaning forward, practically on the edge of his seat.

Rook leans in closer. Too close. Close enough to reach out and touch. Her large, doe-like green eyes, framed under long and wispy eyelashes, feel like they’re burning themselves into his soul.

Chocolate and cinnamon. Spite shrieks gleefully, and he wants to draw back. His heart throbs loudly in his ears, almost drowning out the demon. Almost.

“The prince had the same question” She winks and returns to her previous spot before he has the chance to pull away first.

“Odette explains she’s been placed under a curse by a powerful, but wicked mage. His name was Von Rothbart, and he was obsessed with Odette.”  

The prince disappears and is replaced by a taller man with hair tied behind his back and sharp, hawk-like features. He was dressed in a finely tailored doublet, with a side-cape hanging by a large broach affixed to the right shoulder. A faint red light shines from the broach.

“He kidnapped her from her home and used her blood to bind her soul to the gem in his broach. ‘Marry me’, he asks her every night. Every night she refuses. Every morning thereafter, she turns into a swan. And every night, she is called back to Swan Lake and turns back into a human. Such had been her fate for the last five years. It’s a powerful spell, born of ancient magic – but not an invulnerable one.”

Rook arced her hand over Odette, who’s form morphed from human to swan to human again with every back-and-forth motion of her palm.

He doesn’t have the words, none that will meaningfully add to the conversation at least, to describe how he feels about the way she uses her magic. Amazing, incredible, inventive all seem inadequate.

“There was one way to break Rothbart’s spell. A man would need to profess his love for her and remain faithful to that vow forevermore”

The figure of the prince kneels down on one knee, evidently ready to profess that love immediately.

Lucanis is resting his elbow on his knee, and his chin rests in his hand. His cup of hot chocolate rests forgotten by his side, as do the churros and croissants. He is certain she doesn’t realize how captivating she – her stories, are.

But they are interrupted by Rothbart, suddenly appearing beside Odette. He grabs her roughly by the arm and holds her beside him.

The prince stands with righteous anger. He has an arrow pointed at the figure of Rothbart.

“‘I shall slay this wicked mage, and free you from his grasp’” Siegfried declared”.

As the prince was about to loose the arrow, Lucanis is surprised to see Odette step in front of Rothbart, her arms spread wide in defense. The prince lowers his bow hesitantly.

A low growl escapes his throat, his eyes flash an angry violet “Why would she do that?” Lucanis’ voice is drowned by the deep and unnatural timbres of the demon, echoing together in a discordant symphony.

“Spite” Rook says calmly, like one would address a misbehaving child. “May I have Lucanis back so we can finish the story? You’ll find out why in a moment”

Lucanis’ face contorts with frustration. His violet eyes burn bright with anger, “Want. To know”

“You will, soon. Now bring Lucanis back”

Lucanis – well, Spite, growls again. When the demon refuses to relent, Rook hesitantly touches his forearm and frowns. “Please?”

The violet in his eyes dims, and Lucanis shakes his head. It was rare for Spite to surge to the forefront so quickly.

He couldn’t understand why the princess would protect someone who hurt her.

Lucanis takes a deep breath, and exhales slowly.

“Are you alright?” Rook asks quietly. The figures are long gone now, dissipated by the distraction that was Spite.

He realizes she’s still touching his forearm. Warm, and calming. Gentle. They both look down and she quickly pulls away. He feels the withdrawal of her warmth like gust of cold settling on his skin.

“Yes, I’m fine – don’t worry” He gestures to her, “Please, continue with your story”

Rook still looks hesitant, like she doesn’t quite believe him. He wouldn’t either, he supposed. He needs her to continue the story. Needs to distract himself from the feeling of her soft fingers lingering on his skin, like a brand.

She relents and her hands glow blue again.

The three figures of Siegfried, Odette, and Rothbart return.

“Odette explains that her life is tied to Von Rothbart. If he dies, then the spell imprisoning her can never be broken”

The figure of Rothbart retreats into a deeper part of the forest she’s conjured.

Odette and Siegfried share an embrace.

“’Come to the royal ball in three days’ time. There, I will profess my love to you in front of the entire court’ Says the Prince, resolved to defy his mother and marry her instead of a princess.”

The figure of Odette nods and disappears soon after.

“What they don’t know is that Rothbart heard the entire exchange, and he had a plan to make sure Odette could never escape him” Rook frowned.

The prince disappears next, and they are back with Rothbart and another young woman. This one slender and petite, with the same sharp features as the man next to her.

“Rothbart had a plan. He would use magic to disguise himself” Rook waved a hand and Rothbart morphed into the dress and appearance of an unassuming peasant. “And his daughter, Odile” She waved her hand again, and the young woman became an identical copy of Odette – but her dress, was glowing with an ominous black light.

“There’s no way that’ll work” Lucanis throws his arms up and leans back in his chair. “He has to know that Rothbart won’t just let her waltz into the ball”

Rook merely shrugs, “You’ll have to wait and see”

Lucanis crosses his arms over his chest and frowns. “Continue”

Rook laughs, “Alright, alright”

Odile and Rothbart disappear. They are replaced by a grand ballroom floor, with guests dressed in all sorts of finery decorating the dance floor like little spinning jewels.

At the top of a grand staircase sees Benno, Siegfried, and the Queen gathered together.

“Siegfried anxiously awaits the arrival of Odette” Rook explains, before waving her hand and bringing to life the disguised figures of Rothbart and Odile-as-Odette.

“Overcome with joy when he sees her, he immediately asks her to dance”

The two come together, and the rest of the ballroom disappears. They twirl about the ballroom in an elegant pas-de-deux.

“At the end of the dance, Odile asks him one simple question”

The pair part, and the prince drops to one knee in front of her.

“’Do you love me, and only me?’”

Lucanis watches intently as the figure of the prince bows his head in front of the pretender.

Sadness washes over Rook’s face. “The Prince, none the wiser, proclaims his love to the entire court ‘Of course I love you’ – but it wasn’t enough. Rothbart, masquerading as the girl’s father, asks him to make a binding vow in front of the Queen. Siegfried, thinking nothing of it, does so immediately”

Rook waves her hand and the figures of Rothbart and Odile return to their original forms. Suddenly, the real Odette, in her pure white dress, is inside the ballroom. She crumples to the floor as she witnesses the Prince profess his love for Odile.

“Odette, heartbroken, flees the ball and returns to the lakeside clearing. The prince follows after her, distraught at what he’s done.”

The two figures stand in front of each other on the lake.

“Odette eventually forgives him, realizing that he was under Rothbart’s spell just as much as she was. But the damage was done. His actions consigned her to live as a swan forevermore”

Lucanis frowned, unable to see a path to a happy ending. But Rook was full of surprises, maybe her stories were as well.

“Odette and the Prince resolved to leave this world together, rather than be bound by Rothbart’s magic”

The figures of Siegfried and Odette walk towards the lake, hand in hand. They slowly sink together under the willowy depths.

Well, he wasn’t expecting that.

A moment later, they both disappear under the water.

The figure of Rothbart returns into view. The red light of the broach on his shoulder flickers in and out, before dying out completely. Rothbart collapses to the ground and remains still.

“It’s true that Odette’s life was bound to Rothbart’s – but the magic worked both ways. Rothbart’s life was also tied to hers. And when she left this world of her own will, he left it against his”

A moment later, Rothbart disappears and in his place are two ghostly swans, flying in circles together.

“The spirits of Siegfried and Odette are reunited in the Fade, until they decide to pass on together”

With a final flick of her wrist, the birds disappear, and there is nothing but empty space between him and Rook again.

“The End”

Lucanis exhaled.

“Not the most cheerful ending” He remarks, taking another sip of hot chocolate.

“What was it you said about that one brew at Café Pietra? Bitter and sweet - like a kiss goodbye?” Rook nods and absent-mindedly chews on another churro. “That’s how I think about this ending. Not every story has an overtly happy one”

He’s dumbfounded she even remembers that throwaway comment.

“I still don’t understand how the prince doesn’t question Odette appearing at the ball. With a father she hasn’t seen in five years, supposedly” He wants to change the subject. Away from kisses, goodbye or otherwise.

Rook shrugs, “That’s a question for the author- though he’s likely about four hundred year’s dead.” A light twinkles in her eyes, “Maybe we can find him here, in the Fade, and ask his spirit!”

Lucanis laughs, “Now there’s an idea”

“I’m full of them. Some better than others” Rook grins sheepishly. She begins massaging the side of her left leg.

“What’s wrong?” He asks, following her gaze down.

“Nothing – it’s just starting to ache a bit” Rook winces. “That demon got me good”

“Let me see” Lucanis drops to his knee in front of her. “If that’s alright”

Rook removes her hand and drops her gaze to look at him.

“Oh – it’s fine, Lucanis, really. I’ll bug Bellara about it in the morn- “

“It’s better if you bug me about it now. It might get worse over the course of the night”

He gestures to her pant leg, “May I?” He asks again.

Rook bites her lip, before relenting. “Sure… go ahead” she answers softly and lifts her leg so he can support it in his right hand.

He clicks his tongue when he sees the damage under her dressing. The lateral portion of her lower leg is covered with an irritated and inflamed superficial burn. Three parallel gash marks, likely closed thanks to Bellara’s healing magic, create tracts of bright crimson skin. She hisses when he gently presses on the skin of her leg.

“I have something for this. Wait here” He carefully lowers her leg and returns a moment later with a small jar from the pantry.

“Embrium and Elfroot paste, good for burns and skin irritation. It’ll also prevent infection. Apply it twice a day” He sets the jar on the table beside her. “Let me know if that gets worse”

Rook grins, “I didn’t know I was getting a doctor and an assassin in my contract”

Lucanis chuckles, “Any Crow worth their salt knows how to close a wound just as well as they can open one. Consider it on the house”

“Is the all the cooking on the house too?” Rook slowly stands up, and they’re only a few inches away from each other now.

Lucanis nervously rubs the back of his neck, “I think it has to be, with the way you people eat”

“Hey! I’m not that bad” She places her hands on her hips and frowns. “I eat vegetables … sometimes”

“I’ve seen you pick out the eggplant in every dish”

“Okay, I don’t like one vegetable”

She shakes her head and gathers a few churros and croissants onto a plate. Rook sticks a croissant in her mouth, and speaks around it, “Just for that, I’m eating nothing but these for the next two days”

“You’re going to miss Paella night” He deadpans.

Rook swallows and places another croissant defiantly on her plate.

“Three nights”

Lucanis sighs. At least she seems to like the food.

Rook’s laughter fills the dining hall. “On that note – I should get some sleep. I hope Spite doesn’t give you too much trouble for the rest of the night”

“He won’t” Lucanis doesn’t know that but says it to give her some reassurance. “Good night, Rook”

“Madeleina”

“What?”

“My name … it’s Madeleina. You can call me that if you want” She smiles widely. “Rook is fine too, though”

“Madeleina” He repeated softly. He smiled, and for the first time all night, he feels like he can keep her gaze. Their eyes meet, and it feels like an entirely new conversation is happening between them. “It suits you”

Rook toys with an errant curl and smiles. “Thank you”

“I – umm… I should get going. Goodnight, Lucanis” she adds quickly.

She quickly rights herself and for good measure, steals one more churro from the bowl. Madeleina then turns and begins hobbling out of the dining hall, leaving Lucanis and Spite to mull the feeling of her new name over in his mind.

He would have to thank Neve for her advice.

[gabilina]

Can you explain how Manon Blackbeak is a ripoff of Visenya Targaryen (I love Visenya)

Hi, virtual-dragon-almond-bakery! How are you? Thank you so much for your question.

I'm going to answer this in the best way I can but I don't know if I will be able to since this is my first Tumblr ask and my hands are shacking with excitement, but anyway this post will contain some spoilers, so if you haven't read Throne of Glass (TOG) or A Song of Ice and Fire/Game of Thrones (ASOIAF/GOT) or just any other George RR Martin's book and you don't want to be spoiled than don't read this post, but if you don't mind being spoiled than feel free to keep reading!

Before we start with the Manon/Visenya comparison I feel like we need to talk about how similar Manon is to Targaryens in general. As I mentioned in my previous post Manon IS very Targaryen coded. Even though some tog fans might argue that Manon's long, moon-white hair, and eyes of the color of burnt gold make her look different from most of the Targaryens whose main features are: pale skin, long, silver/gold/silver-gold/platinum hair and eyes in a variety of shades of light-blue/purple, the similarities are still hard to ignore, especially if we compare Manon's arts with those of the members of House Targaryen.

Manon Blackbeak-Crochan

The Targaryen's

Now onto the similarities between Manon and Visenya:

Their personalities

Monon in the Throne of Glass books is depicted as a person who is cruel, heartless, ruthless, yet cunning and resourceful. She is also described to be cold, uncaring, and icy. Meanwhile Visenya in Asoiaf is stern, serious, and unforgiving.

2. Their connections to the iron

In the world of Throne of Glass, there are 3 clans of witches: the Blackbeak Clan, the Blueblood Clan and the Yellowlegs Clan. Each of these clans belong to the group known as Ironteeth Witches.

As Ironteeth Witch, Manon has a specific physiology such as iron teeth and claws.

In George RR Martin's books, iron is also very important. As a metal, iron is used in tools and armaments. We also have ironborns, we have iron islands, but most importantly we have The Iron Throne which is a seat of the Lord of Seven Kingdoms. The Iron Throne was constructed by Aegon I Targaryen, also known as Aegon the Conqueror, first king of the Seven Kingdoms and Visenya's husband (and brother). It was made from the swords surrendered by Aegon's enemies.

3. Their connections to magic/sorcery

As I've said previously Manon is a witch but she's also the last surviving Queen of Witches. Visenya apart from being a skillful and powerful warrior was also rummored to be doing some magic stuff, including dark sorcery and poisons:

“Some claimed that Visenya dabbled in dark sorceries and played with poisons.” (Martin, A Wiki of Ice and Fire)

4. Dragons and blades

Just like Manon, Visenya is also a dragonrider. Her wyverns name is Vhagar, while Manon's wyvern is named Abraxos. What's interesting in all of this is how they named their dragons. Both of these names were associated with Gods of their respective series.

Manon named Abraxos after the Three Headed Goddess' pet and Visenya named Vhagar for one of the gods of Old Valyria

Apart from that they own swords, Manon - Wind-Cleaver and Visenya - the Valyrian steel longsword Dark Sister.

If you want more examples of this then go to @1800naveen blog and @autolykus one.

If someone has much more information on Manon/Visenya similarities or other Throne of Glass characters being Asoiaf characters copycats fell free to reblog and write about it.

Anyway that's for now. Hope you have a wonderful evening ❤️

[distardre]

julance week 1: broadsword

feel free to read whoever's interested is a small info dump about swords bc i went down a rabbit hole of sword classification when i looked up a broadsword LOL

disclaimer that if you are a sword expert and i got anything wrong i am sorry, i am a measly english major who dropped out of his history course and got all this information off of comparing appropriately 20 quora posts and two random sword classification websites

(also i may be an english major but english is not my first language so sorry if the x edged blade, y hilted sword is not the way it is grammatically correct)

okay so basically nowadays the most mainstream sword among fantasy media and D&D and stuff is the broadsword HOWEVER that is not actually what the broadsword is; what is used in games, tv, etc is most commonly the arming sword (a double edged blade, cross hilted sword, intended for single hand use)

the broadsword is generally a double edged blade, basket hilted sword which's blade is wider than that of a rapier, it is intended for single hand use (hence the guarding of the hand at the hilt), and more or less is a double edged version of a backsword; it can also be referred to as a claymore (which however has also been used for the longsword in the past)

however, in the broader historical context (haha funny pun), a broadsword is literally that, a broad sword, or in other words a sword broader than a contemporary one at a given time

then we have the longsword, generally a double edged blade, cross hilted sword intended for two hand use, but can be wielded with one hand if the situation is fitted

however, we also can use the term longsword as its semantical meaning, a long sword or in other words, a sword longer than a contemporary one at a given time

then we have for example the great sword which is similar in shape to the longsword however really long, like up to the size of the person wielding it and the hilt has space for three hands and it's also fairly heavy; i saw one person refer to it as a sword shaped polearm which i found quite funny

uhhh yea okay i think thats all i have to say

i would just like to add the little detail of the fact that sword classifications are a modern thing, people back in the day would just call any sword a sword, they might use long sword and broad sword in their semantic sense but other than that they were just swords

it was with the rise of fantasy media and their focus on the middle ages that swords became misclassified too with the arming sword becoming so popular under the wrong name

moral of the story: sword classification is really confusing :)

here is the quora post i found most interesting, and pretty much all of its information checked out with others i read, if anyone wants a (admittedly way) more comprehensive explanation than mine!

[wokestone]

Depictions of Past Arisen (and various thoughts)

Was walking around Bakbattahl and noticed this mural depicting Rothias, the first Sovran (left), and a second figure (right). Considering they too are standing triumphant on top of a dragon, I assumed they must be Arisen too.

I had also collected some photos of the throne room's stain glass windows depicting the past Sovrans: a humanized Rothias, the 2nd Sovran (presumably the Arisen that Rothias said sealed him under the sea), the 3rd Sovran (the one from the Bakbattahl mural!), the 4th Sovran, and the 5th Sovran.

This makes us (or Darraugh/"Arthur"), the 6th Sovran in line.

Based on the dress of the 3rd Arisen and their appearance in Bakbattahl art, I can only assume Bakbattahl wanted to pay tribute to the Sovrans that originated from their land, so the rest are likely of Vermund origin.

The only other lore that I am aware of exists about past Sovrans is that with the underground library crypt, Waldhar says it was sealed by a Sovran "of generations past" that "in a bid to pass the throne on to his own descendants, this Sovran attempted to consign our kingdom's histories to oblivion" and that this "Sovran's line ultimately fell to ruin." Considering how forgotten this library is, I'd estimate maybe 2nd, 3rd, or 4th Sovran did that? 5th Sovran might be of too recent memory, because based on ambient NPC dialogue at the masquerade, it's been "decades" since they last had a true Sovran.

(This is speculation, but perhaps the beastren were run out of Vermund after blaming Mad Sovran for killing random people he thought were the Pathfinder, and thus the kingdom split in two? Perhaps the 2nd Sovran didn't help matters either.)

Interesting of note is each Sovran depiction hints at the types of vocations they might have favored.

Rothias - Greatsword (Warrior), Stave (Mage/Sorcerer), Duospear (Mystic Spearhand). The depiction of him over the throne appears to be have just a regular longsword, so Fighter too perhaps? Would make sense that Rothias would be an accomplished Arisen who mastered multiple vocations.

2nd Sovran - Stave (Mage/Sorceror); makes sense if they had the magick to seal away Rothias

3rd Sovran - Sword and Shield (Fighter) and Dagger (Thief)

4th Sovran - Stave (Mage/Sorcerer)

5th Sovran - Greatsword (Warrior)

I also had the thought - had any of these Sovran taken the Dragon's deal like Edmund did in Dark Arisen, which extends your life? Considering we aren't aware of any prolonged longevity past Rothias, they might have all successfully slain the Dragon and reclaimed their hearts. Rothias for sure did since he rose to Seneschal, and if the 2nd Sovran did indeed have the power to seal Rothias under the sea, I can only assume they were of strong enough will to be able to defeat their Dragon too. It is possible that perhaps any that took the Dragon's deal might have perished through other means (murder, accident, disease, etc.). While Ser Brant says Disa poisoned/cursed you and sent you away because an Arisen "can't be killed by mortal hands", I assume this to be meddling by the Pathfinder or a deeply believed superstition, and perhaps once an Arisen has claimed Sovranhood through a deal with the Dragon, Pathfinder stops caring about protecting their immortal ass lol.

Other miscellaneous depictions of Sovrans at the palace, and in the world:

Above the throne itself. Another human depiction of Rothias, along with (presumedly) kneeled pawns wielding weapons.

2. Rothias' statue as depicted in Battahl, with the head of the statue preserved and not knocked off to hide Rothias' true heritage like in Vermund.

3. On top of the Vermund palace. I can't fit this one to any one specific Sovran, so it might be a symbolic representation of one wearing the Stygian Omen armor because they're missing Rothias' beard. Considering Darraugh was wearing the armor, I assume it to be a flawed recreation based on the statues of Rothias' armor (considering the actual Sovran's Plate is a very similar but slightly different set).

4. Fountain of the 1st Sovran - a human Rothias wielding a duospear and wearing the Stygian Omen armor.

If any of you know any Sovran lore I'm missing, please let me know!

[ezziefae]

Thoughts while reading The Prisoners Throne Excerpt

Here's a rushed annotation of some parts of the excerpt that really drew my attention. Jurdan fans be ready for many surprises.

"Imagine you have a weapon. They had been in Vivi’s second apartment, standing on a small metal balcony. Inside, Taryn and Vivi had been fussing over Leander, who was learning to crawl. The Ghost had asked about Oak’s training and been uninterested in the excuse that he was eleven, had to go to school, and couldn’t be swinging around a longsword in the common space of the lawn without neighbors getting worried."

(this is a flashback) Taryn’s child makes their first debut!! Taryn named the boy Leander. (I’m assuming its a boy name) Since the Ghost is in Vivi’s apartments could that be a hint that he’s romantically involved with Taryn? Or it could also be that he’s accompanied Taryn to protect her. It's super cool to see The Ghost and Oak training together.

"Oak had actually liked making his own sword. It was huge and black with a bright red hilt covered in demonish faces. It looked like the sword of someone in an anime he’d been watching, and he felt like a badass, holding it in his hands. The sight of Oak’s blade had made the Ghost smile, but he didn’t laugh. Instead, he started moving through a series of exercises, urging Oak to follow. He told the prince should call him by his non‑spy name, Garrett, since they were friends."

Love that Holly is still referencing anime in the Elfhame series. Can we also talk about The Ghost’s character development? In TFOTA series he always kept to himself, and now he’s letting his closest friends call him by his real name.

"The prince has been imprisoned three weeks, according to the tallies he’s made in the dust beneath the lone bench. Long enough to dwell on every mistake he has made on his ill‑fated quest."

THREE WEEKS??? What the heck have Jude and Cardan been doing for three weeks??? I honestly expected for him to be rescued asap. If anything Jude and Cardan have been carefully planning to save oak and I guess that takes a lot of time. 

"His family must be in a panic right now. He trusts that Tiernan got Madoc to Elfhame safely, no matter what the redcap general wanted. But Jude would be furious with Tiernan for leaving Oak behind and even angrier with Madoc, if she guesses just how much of this is his fault."

I really want to see someone from Elfhame’s POV on Jude finding out on Oak being taken prisoner by Wren. I want to see a raging Jude. I’d be terrified to be in Tiernan’s place, since it was his job to protect Oak, and he failed that.

"Possibly Cardan would be relieved to be rid of Oak, but that wouldn’t stop Jude from making a plan to get him back. Jude has been ruthless on Oak’s behalf before, but this is the first time it’s scared him. Wren is dangerous. She is not someone to cross. Neither of them are."

OHH??? OHHH???? So many things are thrown at us here. Oak has a reason to believe that Cardan doesn’t like him??? To the point where Oak believes Cardan would even be RELIEVED to get rid of him? That was SUPER unexpected. Oak finally takes it in that neither Wren or Jude are people to cross. As much as I hate saying this, I want a Jude and Wren fight. That would be amazing. Not saying I want either of them to die, or get hurt, but that would be an intense scene. 

“I can do better,” he says. “And perhaps you might bring me a little gossip to cheer the chilly monotony of my days.” “You’re very silly, Your Highness,” she says after a moment, biting her bottom lip a little.

Oak is using his most dangerous power, seduction. Screaming. 

"He remembers Oriana’s warning to him when he was a child. A power like the one you have is dangerous, she said. You can know what other people most want to hear. Say those things, and they will not only want to listen to you. They will come to want you above all other things. The love that a gancanagh inspires—some may pine away for desire of it. Others will carve the gancanagh to pieces to be sure no one else has it."

I'm so glad holly is diving deep into this, We know that Locke also had this power, and how he was wielding it in TFOTA series. 

"That night, he wakes to the sight of a snake crawling down the wall, its black metal body jeweled and glittering. A forked emerald tongue tastes the air at regular intervals, like a metronome. It startles him badly enough for him to back up against the bars, the iron hot against his shoulders. He has seen creatures like it before, forged by the great smiths of Faerie. Valuable and dangerous. The paranoid thought comes to him that poison would be one straightforward way to solve the problem of his being held by an enemy of Elfhame. If he were dead, there’d be no reason to pay a ransom."

Oak sees this snake, and he immediately thinks it was sent from elfhame to kill him. Which is insane for him to believe that. 

"He doesn’t think his sister would allow it, but there are those who might risk going around her. Grima Mog, the new grand general, would know exactly where to find the prince, having served the Court of Teeth herself. Grima Mog might look forward to the war it would start. And, of course, she answered to Cardan as much as Jude."

"Not to mention there was always the possibility that Cardan convinced Jude that Oak was a danger to them both."

WHAT IS THIS DISAPPROVAL CARDAN HAS ON OAK?? The fact that Oak believes Cardan sent the snake to KILL HIMM, that's absolute madness. Like what the helll did this man do to Oak to make him feel this way?? Cryingggg. 

"It yawns widely enough for him to see silver fangs. The links of its body move, and a ring comes up from its throat, clanging to the floor. He leans down and lifts it. A gold ring with a deep blue stone, scuffed with wear. His ring, a present from his mother on his thirteenth birthday and left behind on his dresser because it no longer fit his finger. Proof that this creature was sent from Elfhame. Proof that he was supposed to trust it."

THIS IS THE RING THAT'S ON THE COVER!! Now we know what the ring means to Oak!!

“Prinss,” it says. “In three daysssss, you mussss be ready for resssss‑cue.” “Rescue?” Not here to poison him, then. The snake just stares with its cold, glittering eyes.

Okay so Jude sent a snake as a messenger to Oak, to let him know that they're coming to save him in three days. Cool….coool.

“Give me longer,” he says, no matter that it’s ridiculous to negotiate with a metal snake and even more ridiculous to negotiate for his own imprisonment, just in order to get a chance to speak with someone who refuses to see him. “Two more weeks perhaps. A month.”

THIS STUBBORN BOYYYYYY. Oh I know Jude would be absolutely furious for that.

"Oak slides the ring onto his pinkie finger, watching the snake as it coils its way up the wall. Halfway to the ceiling, he realizes that just because it wasn’t sent to poison him doesn’t mean it wasn’t sent to poison someone."

BIG MISTAKE MISTER SNAKE, BIGGGGG MISTAKEEEE.

He jumps onto the bench and grabs for it, catching the end of its tail. With a tug, it comes off the wall, falling against his body and coiling around his forearm. “Prinsssss,” it hisses. As it opens its mouth to speak, he notes the tiny holes in the points of its silvery fangs. When it does not strike, Oak pries the snake carefully from around his arm. Then, gripping the end of its tail firmly, he slams it down against the stone bench. Hears the cracking of its delicate mechanical parts. A gem flies off. So does a piece of metal. He whips it against the bench again.

Oak really said “oh hell no, you're not killing the women i love, nah uh,” and then proceeds to kill it in a very violent unsettling manner. Everyone was right when they said that Oak was like Madoc.

Straun spits on the floor in front of the prince’s cage. “No amount of gold or gems will save you. If my winter queen wants you to rot here, you’re going to rot.” “Your winter queen?” Oak repeats, unable to stop himself. The falcon looks a little shamefaced and turns to go back to his post. He’s young, Oak realizes. Older than Oak, but not by so very much. Younger than Hyacinthe. It shouldn’t be a surprise that Wren made such an impression on him. It shouldn’t bother Oak, shouldn’t fill him with a ferocious jealousy.

THE JEALOUSY HAS ME CACKLING. He was imprisoned, neglected in his cell by wren and yet he's jealous whenever someone else has lovey dovey eyes for wren. This man is so down for wren, and I don’t blame him. 

The Ghost taught him how to move stealthily, but he’s never been very good at it. He blames his hooves, heavy and hard. They clack at the worst possible times. But he makes an effort, sliding them against the floor to minimize noise.

Super cool to see how much The Ghost has impacted Oak's skills. The court of shadows in general has been a huge part in Oak’s training and it shows.

Oak moves fast, jerking Straun backward and covering his nose and mouth with the cloth. The guard struggles, but inhaling blusher mushroom slows his movements. Oak presses him to the floor until he’s unconscious.

THERE WE GOOOOOOOOOOOOO.

Welp, The excerpt ends in Oak escaping his cell…..after all thar chaos i've become too impatient. Just 3 Months until this book comes out !!! 

[author-by-night]

So you want to write about swords…

I’ve been reading Tamora Pierce books with my boyfriend, and it’s got me in my trap card again about what different swords are.

Despite what some sword nerds will say there really is no absolute / concrete taxonomy of swords. Especially in history, different styles of swords were highly contextual to different cultures and didn’t often need to be described super specifically or told apart. But when we’re writing, especially writing western fantasy, and we have a wealth of cool swords that we want to describe to an audience so that they sound distinct… then we need to have a ballpark idea what we’re talking about at least with the more commonly appearing ones. So.

Arming Sword / Shortsword

What the overwhelming majority of white people think of when you say “sword.” Also, unfortunately, what most white people (and tabletop systems) think of when you say “longsword,” which is just not correct.

These are one handed double edged blades with a cruciform guard, what an archetypical knight wields alongside a shield. Good for thrusts and cuts, very versatile. A good length for them is one where you can swing the sword straight down without hitting the ground.

For more specific swords that basically also fit in this category see: gladius, spatha, viking swords.

Bastard Sword

What most people who don’t think an arming sword is a longsword think is a longsword… and they’re still mostly wrong. Some people will even use this to mean something bigger than a longsword… which is even less correct.

Think of these as the shortstop between arming swords and actual longswords. They’re often also called hand-and-a-half swords, the idea being that they’re meant to be a flexible weapon that can be wielded effectively in one hand or two. The funny thing is, while most people use these to signify that a character is big and strong and edgy they are specifically a smaller and lighter cousin of the longsword.

Longsword / Claymore

Yes these are basically the same thing. This is by far the most flexible category of sword, though, so nailing down what one is can honestly be kinda tricky.

The crux is this: longswords are generally meant to be two handed weapons. Don’t listen to D&D, it lies to you. If you want the best picture look up “German longsword” or “Italian longsword” or “HEMA.” You’ll get the idea of how they were fought with. Disambiguate them from arming swords in your mind. If it’s paired with a shield (or really anything) it’s an arming sword. Longswords are bigger than you think and every guard I’ve learned with them has needed both hands.

And seriously if you remember nothing else here remember that a Claymore is just a longsword in Scottish font.

Greatsword / Zweihander

Get the image of Cloud Strife out of your head. These were not, and I can’t stress this enough, meant for dueling. They’re what you come at a pike formation with. They were handled more like polearms than swords. Generally speaking they just exist much harder in fiction than they ever did in history… but also the concept is really cool so who cares. Beeg chonk sword. Yaaaaay.

For the wacky wavy version, see “flamberge.”

Broadsword

These. Are not. Longswords. Or bastard swords. Literally they’re “rapier but thicc.” They have a basket hilt, they’re made for fencing, they’re just chonkier than other fencing swords. This one is easily the one I see misused the most because people use it to mean “lorge sword” when in actuality they are relatively small. They’re just heavyweights for a fighting style which is still geared around being light, fast, and virtually unarmored.

Rapier

We all pretty much know this one. Skinny double edged blade with a fancy hilt meant to be wielded in one hand. Good for cutting, better for stabbing. While almost no one gets confused on what it is though, there’s one common misconception about what it does.

I’ll put it this way: if seeing someone with a longsword is like seeing someone with a hunting rifle slung over their shoulder, seeing someone with a rapier is like seeing someone with a beretta tucked into their waistband.

Too many stories have big chunky dumb dumbs seeing a rapier and going “haw haw look at that little toad sticker.” No. A rapier means you definitely have money and most likely a lot of training. There is no chance you are a working stiff like a soldier, a mercenary, or a guard. Rapiers are for killing people in the street or on a dueling ground. This is one of the most intimidating weapons someone can be carrying.

Saber / Cutlass

Basically everyone knows sabers: curved fencing swords, occasionally with a fancy hilt. Mostly these were for soldiers, especially cavalry where their cutting capability has a great advantage.

The cutlass is pretty much that moved down a tax bracket. They’re relatively cheap, single edged, useful for things like cutting rope and thus often seen on ships. Often these were self defense weapons.

Falchion

An elegant weapon for elves and stuff, right?

Well… no. Try a self defense weapon for the lower class, not unlike a cutlass. Single edged, not usually curved or especially interesting, really. Though fantasy authors love handing these to graceful fighters and the name sounds rad as heck they’re basically just a big cleaver. See also the messer and the seax / langseax.

Very, very often confused with the falcata or the falx to the point that all three sort of get mixed together when they’re actually very distinct. (Personally, I think the falcata is the coolest.)

For writing purposes… think hard about how you want to use these. Curved swords that don’t mean “pirates” or “elves” are often handed off to non-white people when in fact all of these three are weapons from western civ, ranging from Rome to middle Europe. They’re not fancy, they’re not that far off from a machete except that their primary use is as a weapon rather than a tool, and if anything they curve forward not back.

Scimitar

Did you mean: Shamshir?

A curved sword that odds are you are too white to be writing about. See also the kilij, the talwar, the saif.

If you don’t immediately know what these swords are then odds are the best thing they can do by popping up in your story is alert you that you need to do more research to write the culture you’re trying to write without being accidentally racist.

Katana

A single edged Japanese sword that was neither folded a thousand times nor was it made of special super awesome steel. The optional groove in the back is called a fuller and it has nothing to do with blood, it just makes the blade lighter and sturdier. It’s not inherently master crafted, just historically the forging technique was unique and interesting and involved differential hardening. It’s great at cutting. If one shows up in your story and you aren’t Asian, you’re probably a weeb. Take it from someone who was a teenage weeb, and see my previous note about cultural research.

Bonus Round: Weight

If you made it this far I have one last gripe and I want you to spread the word: swords are not heavy. Every time I read about a noodle-armed protag struggling to lift a sword I want to scream. The average weight of a historical zweihander—the swords so big they’re used as polearms—is about 5lbs. There are books heavier than that. Unless the sword in your story is made of tungsten for some reason there is no reason it should be hard to heft. Tiring to fight with? Sure. But swords aren’t made to be cumbersome and acting like one can’t wield them at all without doing a whole montage about it first looks really silly to anyone with even a passing familiarity with fencing… which will be a sizable chunk of your audience.

[stoopidnightcrawler]

Hey there. Now I'm gonna talk about something different. About the swords. Greatswords in general.

More details: If I had to fight with swords, and in front of me were swords from the Souls series. Which one would I choose and why?

You can also share your thoughts and write what YOU would choose in such a situation.

But first, let me give you the criteria for my choice.

Length. Basically, one of the reasons why greatswords have become popular in general. I took 150 cm from Claymore as a base and then pushed off from it, in terms of the length of other blades.

Dynamic, or blade behavior. This is quite an important point, because a short sword that behaves like a club is not a very pleasant situation. (Yes, bastard, I'm looking at you. A very ordinary Longsword who has tipped the scales to 3 kg and works like a club with a blade.) Sometimes I'm gonna call it also a "Balance".

Weight. Well, yes.. I don’t think that a sword, with a length of 150 cm and weighing 5 kg, will be good in combat.

And here are a few less important points. The strength and profile of the blade. It's trivial that if the blade itself is like a thick rail that will fall off after a couple of blows, you would hardly want to pick up this sword in principle. Therefore, although these are the least important, I will definitely mention them when describing the sword.

Well, now.. we'll begin.

And in third place, perhaps, the object on the cover of this post. Greatsword of Artorias!

Surprisin', huh? The irony is that relative to its length of 180 cm, the Artorias blade has a pretty decent weight of 3.8 kg. At the same time, the sword itself behaves not like a heavy club, but rather like a quite frisky classmate. Therefore, with all its parameters, it is very well balanced. The blade profile itself and the rest of the sword assembly are well done. But, questions arise with durability. Personally, I am not sure that the handle will be reliable enough for the dynamics that Artorias develops. But despite this, I think that the Sword of Artorias will be quite a good sword in a real fight.

Now, to the second place. And this is the elegant Drakeblood.

It's mostly Longsword rather than Greatsword. Just a bit heavier. It weighs 2 kg and is 130 cm long. Everything seems to be in the same proportions as the Claymore, but. The pivot points create an almost ideal base for blade control. That is, this is one of those Greatswords that I would use not as an inert sword, but rather as a more controlled one for each strike. And since its pivot points are so well calibrated, it follows that everything is fine with its balance. At the same time, the blade profile is perfect for both powerful thrusts and good strikes. And the overall ratio makes it an extremely reliable weapon.

That is, yes. It is short, in comparison with its brothers. But at the same time, it gives equal opportunities to the user. You can play it as a Longsword, or as a Greatsword. I can play from defense and timely counterattacks. In general, you can tie my "Longsword game", as Fiore, Liechtenauer and many others bequeathed. And at the same time, Drakeblood is quite a Greatsword, with which I can play Marozzo, Figueiredo and many others, which I will get to in principle.

However, its length did play a role. Because there is a candidate for no less successful opportunities and at the same time, it is a full-fledged Greatsword. It displaced Drakeblood from the first place.

And I am talking about the Great and Beautiful Flamberge.

Uh... Duh. Who were you expecting here? Claymore? Nah.. not this time.

So why Flamberg? It's simple. It's based on Montante. With good dynamics for Greatsword, length and weight. At the same time, the blade itself has a false guard and ricasso for the "half-sword" technique, with which you can counter a heavier, longer and sometimes superior weapon. Being based on Montante, it fully opens up many schools of the two-handed sword. Di Grassi, Marozzo, Figueiredo and much more(unlike some).

Flamberg, with a length of 150 cm. has a good weight of 2.8 kg (unlike some). The simplest and most proven straight guard (unlike some, damn!).

Besides, you want to trust the sword itself. It won't break from its own weight (UNLIKE SOME FUCKING THINGS). And the blade profile itself is very good and has decent proportions to the tang and itself (LIKE THE BITCH OTHERS DON'T DO).

And yes, I think we shouldn't ignore the elephant in the room.

Fourth place. Claymore.The last possible option.

Yeah.. tell me that Claymore is a real base. A real Two-handed sword. Only, I know what a Two-handed Claymore is. Especially in the proportions and profile that are in the game. And yes, indeed, the average minimum weight of such a sword will be 3 kg. Yes, with a minimum base of 150 cm for two-handed swords.

But before I lay out all the complaints about it, let's find out what a Claymore really is. And the fact is that it is a Longsword. More precisely, a Highland sword, which is made from a purchased blade and a two-handed handle attached to it, sometimes. Most often, of course, a suitable one. (And sometimes a crooked goat horn!) Which makes it a Longsword by default. But what happens if you simply scale up the Longsword to become a two-handed sword? Let's say that the Highlanders have learned to fine-tune the balance for Longswords. But does that make them two-handed sword specialists? That's the whole point. A two-handed sword is not a big Longsword. A two-handed sword is its successor. With its own rules and dynamics. If you increase the Longsword to the state of a two-handed sword, you will get an extremely unbalanced sharp club that can only be used like in DS1 and 3.

To create a Greatsword, you need to take into account the blade profile, its distal taper, adjust its rotation points and, preferably, vibrations, through the rest of the fittings such as the pommel and guard.

In Drakeblood's case, it's Longsword, which is so well balanced, given its mass, that it can be used either way. But in the case of the Claymore made from stuffy parts, we have an extremely unbalanced stick that will most likely also bend at the tang.

3 kg. this is not a joke, depending on its dynamics, it can take you somewhere itself, in which case, you will lose control of the weapon. And no, you will not be Guts, who can master it. Otherwise, you are still better off taking a sword much more balanced, for starters. And then choose the most convenient, and not suffer with an abusive bitch named Two-handed Claymore.

//You're not going to carry around a bunch of .50 caliber ammo and a super-heavy gun just to prove you're different, are you? A .308 ammo and a handy gun that you can comfortably handle will be enough.

That's why the Claymore is the last option for me. With its fragile proportions, ugly V-shaped guard and broken balance. Say what you will, but this is true for me. The claymore is a bad sword. It has no style. It has no power. It has no reliability.

Comments are open for a Flame War.

[historicalfightingguide]

"The Historical Fencing Channel is an organization that disparate historical fencing groups come together and, through agreement, to collectively validate and recognize the efforts of their individual members. In doing so a "common ground" and sense of community is created within, through which ideas, methods, and knowledge may be shared in order to promote the growth of both groups and their members beyond what would otherwise be separately achievable. This Channel is a common ground for members to submit videos of their interpretations, to create a library of techniques from differing groups"

More specifically we can see Adam Franti of the Lansing Longsword Guild in all the videos of this playlist - covering a lot of the basic strikes, guards and concepts of Meyer Dussack(effectively a form of medieval/renaissance central-european saber that usually had a (semi)complex hilt but was often practiced with leather and wooden practice weapons with simpler guards).

On that note here’s a masterpost of sorts of Meyer content on this blog

You may also remember Adam from the earlier methodology and murderhobos posts.

The provoker-taker-hitter tactical concept and its uses are quite relevant to dussack as a weapon.

You may also enjoy this general one-handed sword according to Meyer video as well

(and keep in mind the dussack is used by Meyer within his 1571 book as a basis for all one-handed weapons).

As well as these videos on how to apply the Meyer square to a dussack, and some other dussack-handling drills.

Lastly you might find the dussack tag of the blog relevant too.

For anyone who hasn’t yet seen the following links:

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Some advice on how to start studying the sources generally can be found in these older posts

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Remember to check out  A Guide to Starting a Liberation Martial Arts Gym as it may help with your own club/gym/dojo/school culture and approach.Check out their curriculum too.

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Fear is the Mind Killer: How to Build a Training Culture that Fosters Strength and Resilience by   Kajetan Sadowski   may be relevant as well.

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“How We Learn to Move: A Revolution in the Way We Coach & Practice Sports Skills”  by Rob Gray  as well as this post that goes over the basics of his constraints lead, ecological approach.

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Another useful book to check out is  The Theory and Practice of Historical European Martial Arts (while about HEMA, a lot of it is applicable to other historical martial arts clubs dealing with research and recreation of old fighting systems).

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Trauma informed coaching and why it matters

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Look at the previous posts in relation to running and cardio to learn how that relates to historical fencing.

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Why having a systematic approach to training can be beneficial

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Why we may not want one attack 10 000 times, nor 10 000 attacks done once, but a third option.

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How consent and opting in function and why it matters.

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More on tactics in fencing

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Types of fencers

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Open vs closed skills

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The three primary factors to safety within historical fencing

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Worth checking out are this blogs tags on pedagogy and teaching for other related useful posts.

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And if you train any weapon based form of historical fencing check out the ‘HEMA game archive’ where you can find a plethora of different drills, focused sparring and game options to use for effective, useful and fun training.

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Check out the cool hemabookshelf facsimile project.

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For more on how to use youtube content for learning historical fencing I suggest checking out these older posts on the concept of video study of sparring and tournament footage.

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The provoker-taker-hitter tactical concept and its uses

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Approaches to goals and methodology in historical fencing

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A short article on why learning about other sports and activities can benefit folks in combat sports

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Consider getting some patches of this sort or these cool rashguards to show support for good causes or a t-shirt like to send a good message while at training.

[inevitableisopod]

Longswords and you, pt 1

So, to furtherance! the first thing im going to address is what i imagine will be of interest to the vast majority of people that actually want to read this blog, the longsword!

so, now what is a longsword? unfortunately, we don't know. the term longsword is a modern definition that is not necessarily indicative of historical perception, and as such it instead refers to a group of swords spanning approximately 4 centuries (first emerging in the 1200s, and being used right through the 1600s and slightly in the 1700s albeit with much diminished regularity), that differ in application and design, but never the less share certain characteristics, these being:

long double edged blades, usually 10 cm either side of a meter, but bare in mind this can very wildly

relatively long handles, easily taking 2, or even 2 and a half hands, ending in a rather pronounced lump of metal called a pommel

a long crossbar that forms the guard, giving the entire thing a roughly cruciform shape.

one of these basically

Unfortunately these rules are neither hard nor fast, but give the general idea!

Next i'll discuss its impact in modern western culture and usage!

May your edges stay sharp and your points true

[m1dori-eyes]

Begging fantasy authors who want to write about Medieval or Renaissance era warfare to please stop describing every single conflict as a bunch of people running at each other with longswords and full plated armor. Like yeah those battles between heavy infantry units DID happen a few times but the VAST MAJORITY of battles were fought between two bodies of LIGHT INFANTRY, aka a bunch of peasants in normal clothes with spears. Warfare was expensive as fuck, armor costs time and money to make, swords cost time and money to make, people cost time and money to be trained in swords and armor, and most militaries just couldn't afford to go through all that shit. If you want to send an army at someone, you give a bunch of locals spears, because spears are cheap, big, and a lot of individual fights were just decided by who could land the first blow. People didn't have hit points like in a video game, if you get stabbed through the shoulder with a pike then you were kinda just fucked from there, and polearms were longer than swords so you'd hopefully get the chance to attack your enemy before they could attack you. A one-handed sword is the weapon of a mounted warrior who needs their other hand on the reigns, a gladiator being made to fight for spectacle, or a rich person trying to honorably duel another rich person. They're flashy and have certain uses such as close quarters combat, but they're not practical for general military usage. Swords and shields were sometimes used in large scale warfare, but only by people who could afford them, which were wealthy commanders and a very select few units of elite infantry. And full armor??? Aside from being one of the most expensive things someone could buy, plate armor requires TRAINING AND TIME JUST TO PUT ON AND TAKE OFF. You think just any old ruler could afford to outfit an entire battalion of people with full armor, train them how to use it, and then arrange each battle so that they would have enough time to put it on before fighting? Just for them to fight on foot and not even on horseback??? Armored footsoldiers were niche, they existed but only when horses were impractical or otherwise inaccessible. Stop putting them everywhere, if that armored knight in your book could be on a horse in that situation, then they absolutely were. Also if you're on foot with a sword, and an enemy combatant on a horse runs at you, there's basically nothing you can do, armor or not!!! You either get incredibly lucky, dodging their strike and then happening to strike one of the few weak points on the lower half of standard cavalry armor, or the infinitely more likely thing happens and they hit you with enough momentum to immediately kill you on impact, before you can even get close to reaching them with your sword. The power of a warrior on horseback doesn't come from the arm strength of the warrior, it comes from the speed of the horse. Spears are the best weapon to use against other spear wielders, and will give you the largest chance of survival when you're outclassed by cavalry. Fantasy writers please just give everyone in big infantry battles a spear they make so much sense and they're so cool please I am begging you.

[mactiir]

sword misconceptions part 2: shortsword

Post series: longsword | rapier | buckler | dagger | spear

so as I'm getting back into fantasy lit as a historical fencer, there are a lot of things I am noticing cropping up in swordfights that are inaccurate or flat out wrong. So i wanted to write a post for my fellow writers putting down a few things I've learned in 2.5 years of swinging the actual weapons around!

Disclaimer: i REALLY wanna emphasize this because in my last post someone decided to get cute (and wrong) about this. Historical terms for weapons were NOT STANDARDIZED. There as no "one" longsword/rapier/shortsword etc when we're talking about a weapon that existed for hundreds of years across an entire continent. And "shortsword" especially is not a specific term. As how you use weapons are governed more by their properties than their names, you can generalize many things that may not have historically been called "shortswords" under this term. There are like five or six different weapons which have distinct traditions in HEMA which match the fantasy game description of "shortsword". So I'm talking here about any one-handed, straight-bladed, double-edged sword with a (mostly) simple hilt/crossguard and a blade length typically between 2 and 3 feet. As "shortsword" is a generic and not a specific weapon descriptor, this covers what we in HEMA call arming swords, gladiuses, some messers, and probably a bunch of other types of swords I can't think of right now (the "simple hilt" rule is because I'm putting italian side swords and scotch broadswords in a different category. They feel really really different to wield than an arming sword/messer, and classing them as shortswords feels wrong).

Misconception 1: dual wielding shortswords is safe and effective.

When you dual wield, you really REALLY want different length weapons in each hand -- like a dagger in the offhand. Otherwise they cross over each other, get in each other's way, and generally slow you down and mess you up. We'll dual wield matching weapons for fun sometimes, but it strangely feels very unsafe and most of the time you have to resort to windmilling (getting stabbed in the chest as a result). Is this a skill issue? Maybe partially, but there's another reason to have a shorter weapon in your weaker hand, and it's physics. Maintaining parry structure and speed in a full size blade is really hard to do in your weaker, non dominant hand, so if you're going to hold an offhand weapon, you want it to be something that can't be easily wrenched or beaten aside, and instead something that has more leverage (like a short lil dagger!) so that you can turn aside incoming hits without the sword getting blasted aside. If you have a character that's really, truly ambidextrous they might be able to legitimately dual wield full length weapons, but most of the time this one just looks silly.

Misconception 2: since it's a one handed weapon, you shouldn't use your nondominant hand at all.

One of my favorite things about slashy one handed weapons like messer and arming sword is that your offhand still gets a job, but it has to diversify its job prospects! Most "shortsword" traditions aren't like modern fencing the way saber or rapier are, where you only use your sword arm. In messer, which is a very grappling-focused system, your offhand's job is to grab your opponent's arm, put them in joint locks, seize the opponent's blade after you've locked it in a bind, and otherwise be a nuisance. In arming sword and buckler, the offhand holds a lil shield, whose job then becomes to suppress the opponent's sword by shoving the buckler into a bind, protect your sword hand, parry afterblows, or deny entire target areas to your opponent. Most shortswords are NOT weapons designed to be used without backup from your other hand in some way. Don't just have your character hacking an arming sword around. Have them close distance, grapple hard, yank, push, armlock, trip. Shortswords don't grant the luxury of distance longswords can. You have to be up close and very personal.

Misconception 3: shortswords are faster than bigger weapons.

And in close quarters, they sure as hell ARE faster, because that's where longswordsget jammed up by proximity. But "close quarters", in this case, is "less than five feet apart". I'm talking CLOSE. Correct to: measured by speed of the hand, you can swing a shortsword more times per minute than a longer weapon. But a few things equalize that: their length, so you have to step in to score a hit, making them slower; and their relative lack of mass. This seems counterintuitive, but think of it this way: cutting a longsword around often just involves redirecting its velocity, which is already trying to continue forward due to its mass, in a different direction. Cutting a shorty around often involves restarting the whole cut: it's probably stopped against your opponent's weapon or bounced off, so you have to re-engage your swinging muscles to get it moving again. This is why when you watch sword and buckler or messer fighting, fencers will often avoid binding their blades at all costs and instead repeatedly disengage under or around each other's blades instead -- because in this situation, with good footwork, the sword actually FEELS its proper speed. A two-handed sword is going to be faster and more nimble than a one-handed sword in almost all cases UNTIL you get close enough that the longsword wielder can no longer move their sword properly -- which is well within the longsword's cutting range.

Misconception 4: shortswords are for weaker characters than longswords.

My beef with d&d 5e is that every sword SHOULD be a finesse weapon with a strength prereq to wield. Yes, shortswords ARE lighter than longswords, but only by about a pound. Add that to the fact that you can only use one hand to hold it and the fact that you're probably trying to swing it faster due to being practically in the other guy's teeth, I find short swords actually more physically taxing to wield than longswords. They burn out your dominant shoulder BAD and there's no way to relieve the weight on your arm without dropping your sword and probably taking a point to the chest. Yes, they are easier to pick up. They are harder to fence/fight with for extended lengths than longswords, at least to me.

That's all I can think for now! Hmu with any questions or confusions.

[aikoiya]

LoZ LU - The Rhythm of the Universe

I hc that if Cadence of Hyrule's Link, Rhythm/Tempo (I like Rhythm best, but Tempo also works, so he'd likely respond to both), were part of LU, he'd be something like August Rush. Able to hear the music in everything & able to play just about any instrument after just a bit of experimentation. Though, this particular Link just outright enjoys it.

Keep in mind that Caladbolg is a two-handed weapon. It big! And it deals high damage. However, it wouldn't be his only available weapon by a long shot. Surprisingly, he'd also have the Kokiri Sword (which would likely get a reaction from Time), which is only one-handed, allowing him to also use a shield at the same time, & even deals more damage than Caladbolg. Where Caladbolg shines is in its extra range, being a Longsword.

He also has Fragarach, which is a Broadsword that can pierce shields, thereby making it very useful against Darknuts & Iron Knuckles, though it deals middling damage. Then, there's Impa's Naginata, which both poisons enemies & heals the player after every 5 foes defeated (which basically makes it a Life Steal weapon). The Hylian Flail does little damage, but it also has good range & knockback.

Also, when Tempo, Harmony, Cadence, & Octavo were sent forward in time, it was specifically to the Downfall Timeline. To not long after Time was killed. It was their defeat of Ganon that made it possible for the Sages to seal him away later.

Anyway, his sense of Kairos & rhythm would also be near perfect & he'd likely be oddly in-tune with the overall rhythm & resonance of the universe. And his pattern recognition skills would most likely be on point, able to figure out almost any enemy's fighting pattern very, very quickly.

I also see him just having a naturally strong talent for acoustomagy (music magic). Also being able to memorize just about any song just from hearing it once or twice.

Seriously, the Paladin of the Oath of Music vibes on this man is absolutely ridiculous. He's also just more innately in-tune with magic. I could see him figuring out how sound waves interact with the world & using that to create spell songs of his own. Ones that utilize things like acoustic levitation, acoustic hydroremediation (purifying water through sound), healing, & causing plants to grow faster.

These are actually things that sound waves can actually do even without magic, just generally on a smaller scale, so channeling magic through sound would likely do even more.

Though, the acoustic hydroremediation might cause Rulie to have hope for his own Hyrule. He may even ask Rhythm to teach him how.

Rhythm has a bit of a fascination with weapons that double as musical instruments or musical instruments that double as weapons. Things like maceracas, a bladed battle-lute, ect. He can also be very musically experimental when he wants to be.

He's taken up woodwork, amateur metalworking, & even magical infusion to see just how creative he can get with making musical weapons. Some have been hits & others misses. This will eventually lead to him becoming the Royal Jubalturner of Hyrule.

... What if he was the one who made the Wind Waker??? This would fit well with my idea of the Wind Waker having a song that, when played, can turn it into a sort of Rapier of the Winds. While it'd be a sword, it would work similarly to how Artemis used the Wind Waker, but if it were happening while she was using the Rapier. But I imagine the wind cutting through enemies rather than blowing them away or confusing them. Working something like the Sectumsempra spell from HP if it had a wind effect.

(Not quite satisfied with the guard. Also, I based the design on some of the parts found in the Instant Armory app. If you like to make items & weapons, you might wanna check it out to get a bit of inspiration.)

The green gems are Emeralds, which are very rare & are known to be imbued with Wind Magic.

When in this form, the Wind's Requiem, Song of Passing, Song of Storms, Wind God's Aria, & so on & so forth, will all result in an offensive attack. Wind's Requiem & Wind God's Aria will both boost the rapier's default wind slice attacks, the Aria taking on a similar power to a Skyward Strike, though of both Divine & Wind Magic. Song of Passing will depend on if it's day or night & the phase of the moon. Daytime means a strong wave of Light Magic (Solar specifically), night will create a Twilight (Lunar specifically) or Shadow Magic strike. However, Shadow Magic will only come out under the new moon. Song of Storms will infuse the rapier's blade with a charge of Lightning Magic.

Basically, it makes this a very versatile weapon. Anyway, there are other songs, but these are the ones I thought of off the top of my head.

The Wind Waker may have been a gift to his dear friend, Harmony (who he knew had a certain inclination towards the use of rapiers & magic), which has since been passed down in the Royal Family as an heirloom. However, it's offensive capabilities have been forgotten.

My thoughts are that the Chain initially believe that the 2 aren't the same one, but a while after Rhythm shows them the Rapier of the Winds, Wind gets into a situation where a monster was comin' in hot. He already had his Wind Waker out & he wasn't sure if there was enough time to get the Phantom Sword out. So, in a panic & without even thinking, he did the directions above & his Wind Waker turned into the Rapier of the Winds, thereby proving that it was, indeed, the baton that Rhythm made.

Anyway, Rhythm's fighting style would also probably be just innately dancelike & would be able to bounce back quickly from most any mess up. Think if Capoeira used swords. In that even if he does mess up, he's able to make it look like he didn't. Which results in him being very good at course correcting & creating new strategies on-the-fly mid-fight in a way that makes it look intentional.

However, he'd also be prone to timekeeping as it helps him think. If you've ever seen Akeela & the Bee, she does something similar. This results in Rhythm tapping, sometimes unconsciously, when he's bored. He also tends to hum or whistle when he's happy. At the same time, he's also... fantastically bad at stealth when he's not tuned into the sounds of the night or in the right mindset.

He likes birds & birdwatching. He's prone to whistling back at them. Often mimicking their calls. He's actually very good at bird calls.

He's also just optimistic by nature, has stupid good hearing &, if he were to train that way, I think he'd be able to develop a type of echolocation. (However, I don't think he'd ever think to try.)

However, due to being so in-tune with nature & having such good hearing, he can get overwhelmed with sensory input, especially if he visits Castle Town.

The first few times he's there, he's overstimulated by all the sounds, the talking, the screaming, everything. And he'd likely make a break for the woods to just calm down as he takes in the more peaceful & manageable rhythm of organic life there.

But leaving for the forest isn't the only way to be able to calm down when confronted with all the noise of Castle Town. Another way is for him to take a deep breath & find the music in that too, much the way that August did. Instead of resisting it, take a moment to let it wash over him so his mind can compartmentalize it & identify the beat of the city's heart.

Though, that'd most likely be something he'd have to learn to do over time.

Once he's able to recognize the beat within the discord of the city, it's easier for him to acclimate to it & refind his own inner rhythm & allow it to exist alongside the city's, admittedly, more cacophonous beat.

Even then, Rhythm would likely see it similar to concerts in that it can be exciting, but a bit much at times & he'd likely go out to the forest & tune into that in order to decompress.

The city isn't a bad or disharmonious sound. Just a new one that can be a bit loud & difficult to get used to, is all.

And once he figures it out himself, I see him being the sort to help teach any other Links who also get overwhelmed with the hustle & bustle how to not let it get to them either.

Rhythm doesn't sing often, because he's shy about it, except for when he's completely alone or with someone he loves & trusts. However, when he does sing, it's, in a word... heavenly.

Also, he has an odd ability to translate a situation or something he or someone is going through into song as he finds that it makes it easier for him to process things. This also results in him both being one of the most empathetic & emotionally mature of the Links with some of the best coping methods, as well as giving him something of a Vibe Check ability.

Also, I hc that he was Time's father (though, if that's the case, his nickname being Tempo could be used as a cheeky nod to that). That Rhythm likely died during the Hyrulean Civil War. That he died of an arrow through the back of the skull due to having missed a beat in battle. (I know that in the manga, Time's dad died of an ax through the chest, but tweaks happen.) I also believe that his death at that time was not the plan. I think that, at the very least, he was supposed to guide Time through his adventure rather than Navi. But his death put a spanner in the works & destiny does what it can to make things turn out... at least somewhat manageable...

... Fudge... Imagine him singing "Remember Me" from Coco with his wife to baby Time before leaving for battle for the last time... Then imagine Time's mom singing it to him alone in her last moments beneath the Deku Tree...

Imagine Rhythm joining the Chain, perhaps a few months before his wife gives birth & him humming the song & Time's just like, "?!?!?!"

And he has absolutely no understanding of why other than the melody being hauntingly familiar & it invoking a feeling of unconditional love in him that echoes with some far off memory that's so fuzzy it's like looking into a thick fog. But in a way that causes his heart to ring with a note of sad longing & loss.

Yet he doesn't understand it at all.

I'm thinking about how Moses could remember the melody his mother sang to him as a baby in "Prince of Egypt" even before meeting Miriam. Remember how he whistled the tune to himself as he approached Rameses, who was hiding in the shadow of a statue?

Like that.

Perhaps he really remembers it, or perhaps it was unconscious.

Anyway, had Rhythm been able to be a dad, I imagine him being similar to Greg Demayo-Universe in a lot of ways. Just, ya know, a more fighty one who can actually be strict when he thinks it's necessary. And will go out of his way to educate his kid.

So, I think that'd show up here in an au where he joins the Chain.

---

Alt Idea: Before going to fight in the Civil War, Rhythm escorts his wife & infant son to the Kokiri Forest & asks the Deku Tree to grant his family sanctuary so that he may protect his home without needing to worry about them.

Here, Rhythm still dies, but his wife lives & she becomes sort of like the Wendy for the Lost Boys. As such, she's able to raise Time &, as a result, he's much more well-adjusted.

It's even possible that, because of this, the Master Sword does not put Time to sleep for 7 years due to him being more developmentally mature.

2ndary Alt Idea: What if there was a timeline where Rhythm had seen the sort of people that Kōme & Kotake were & he was like, "nope, I ain't leaving this kid here with them"?

Then he steals Ganondorf away & he ends up Time's older brother. Maybe Kōme & Kotake try to get Gdorf back & things spiral.

Maybe Rhythm kills the Twinrova? Maybe the Twinrova kill Rhythm & take Gdorf back? Don't know.

LoZ Linked Universe Masterlist

[thesadadventurersgame]

I forgot to post about the powers, forgive me hehe

made this in class and even though I've checked it more than 4 times, there may still be a typo or another here an there. Anyways, here's a more detailed look into the gods powers and a bonus

General powers:

Empathy ; the power to read, interpret, assimilate and intensify emotions and moods:

The gods can freely read and interpret emotions, however, they will be able to intensify the emotions to which they correspond to with no difficulty, as for the others, the further the emotion is from the Gods assigned emotion, the more difficult it will be for them to manipulate that emotion.

Example: Mc can manipulate sadness naturally, anger easily and happiness with extreme difficulty.

“Climate control”:

If a God feels a very strong emotion, the climate around the region they’re in will change drastically. They don’t necessarily control it, but I didn't have a better name.

Sadness will cause rain, storms and snow, drastically reducing the temperature. Anger will make the weather uncomfortably hot, it may also causes typhoons and occasionally tsunamis or volcanic eruptions.

Happiness will make the day sunny and cloudless and, at night, it will make the moon shine brighter. Love will make flowers bloom no matter the season and at night it will create a meteor shower. Fear makes everything dark and cold, the more fear the God feels, the darker and colder it gets.

and others powers such as telepathy, illusions, regeneration, magic in general, cursing/blessing and fortification by emotion (in that case, the one associated with them)

They may also unintentionally inflict their respective emotions on other people close to them.

Example: If mc starts crying, even for something silly, the people around them will start crying too, but that's it. On the other hand, if it is due to deep sadness…

mc’s powers:

Some will vary according to their species, but the characteristic powers of the deity of sadness are:

Tear manipulation/attack, It will generally be used to create the MC's weapon of choice.

Healing tears, ice manipullation, (emotional) pain infliction. you will be able to choose which of these powers (except tear manipulation) you are best at or if you have never trained with any of them. The fewer powers you have trained with, the weaker you will be.

Ahladita’s powers:

general fairy powers, light manipulation (generally used to create her weapon of choice: a spear), Luck giving.

Itoko’s powers:

general merfolk powers, supernatural beauty, has a lovebow, love detection and healing.

Gunnar’s powers:

general demon powers, blood manipulation/attack, Jinx and pain infliction.

Dougla’s powers:

???

Dalia’s and Orpheus will be presented in-game.

Bonus "What weapons will I be able to choose?"

You will be able to choose between: A longsword, greatsword, daggers, trident, giant hammer, spear, bow, harp, a violin or none if you want your mc to just use magic, brute force or just a goofball that doesn't fight