An estoc, used from the 14th to the 17th century, is an edgeless two-handed sword designed specifically for fighting against opponents who are wearing full suits of steel armour. Similar to a rondel dagger, the estoc is meant for finding its way into the niches of armor (armpits, neck, visor, the
Worn over a skirt of maille, a fauld is a piece of armor that sits under a breastplate, corresponding to a ‘culet’ which sits under the backplate on the other side (although in early medieval times, culets were rarely worn as maille over the arse was deemed ‘good enough’). A fauld consists of steel lames connected by strips of leather, albeit other less popular methods were sometimes used to connect them. The leather strips allow expansion and contraction, which is absolutely necessary because the fauld needs to contract when the wearer mounts a horse. Oftimes, additional ‘tassets’ were hinged to the bottom of faulds to hang over the ‘cuisses’ and provide additional protection for thighs.
Muskets or any flintlock firearms are generally always reloaded via the muzzle like a cannon. First, a ‘powder horn’ or ‘powder flask’ is used to pour ‘grains of shot’ aka gunpowder down the muzzle and into the bore where it settles at the breech. Experts may be able to eyeball how much powder’s needed for a successful ‘fire’, but many people use a ‘measuring flask’ in order to make sure the correct amount is inserted. For many later muskets, 100 grains of shot is recommended.
A swordbreaker is a dagger or shortsword with deep notches on one side of the blade, used for catching and grappling opponents’ swords. They were most popular with the rise in rapier fighting during the Renaissance. Much like a shield, a swordbreaker is used in combination with a sword or other one-handed weapon.
Used historically by militia in the Franco-Flemish War of the 14th century, the goedendag is the combination of a club and a spear. It’s a medium-ranged, two-handed weapon. The pointy tip is useful for puncturing maille and gambeson, and the heavy base of the head also allows its user to perform blunt chops and
In my niche, a popular argument is circulating. Should fantasy be more realistic? One side believes fantasy should take pride in being unrealistic because, after all, it’s fantasy.
The other side thinks fantasy is awesome, but the unrealistic armour, fighting styles and architecture makes it not as good as it could be. They believe more realism can make fantasy more believable, and therefore more entertaining. I’m a gamer as well as a medievalist, so in a way I support both sides of this argument, though anyone who’s chatted with me could tell you I support one side more. For the bulk of this spiel, however, I’ll forget my opinion to explain this popular argument more thoroughly, or at least I’ll try to.
I heard two people on the street going on about this subject. One said he thought games were better because a good book was much harder to put down. The other said at least a good book can end and a good game these days never does, which is why they get people hooked. People get a hooked on books, too. Both are fun.
A friend of mine is often volunteering their time in social programs that aid the poor, so it was daunting when they asked what do I accomplish by writing books. This friend has already made the world a much better place. For example, they’ve built homes in third world countries, donated tons of money to the homeless, helped numerous fundraisers do the same, etc. I may have made that list small but that’s all stuff I’ve never done before. I believe it’s important to leave the world better than how you found it, but this question struck me hard at first because I wondered, “Am I just writing books for myself, or am I making the world a better place, too?”
This morning I watched Ran (directed and written by Akira Kurosawa) and I must say it nearly made me cry! Lately I’ve been growing more appreciative of the epic filming style of older movies. Modern movies like to zoom in on individuals during warfare, but movies like Ran like to zoom out and show
The plow, the ox, the roof and the fool are real sword stances from medieval treatises and historical manuals (check out the famous Solothurner Fechtbuch) and are still used by HEMA students today. These four sword positions are also similar to the basic stances used by samurai in different periods. There are many, and some would say an unlimited number of stances a swordsman can hold, especially if you do LARP or Hollywood choreography (lmao), but these four guards below are the universal, historical ones, and I believe understanding them can empower any novice sword owner. Now I will briefly explain their uses and applications from an outright amateur’s perspective.
This is a poem I kept from one of my many unpublished fantasy stories. He stormed out from his castle Harry after hassle Yearned to win so badly Sortie after sally The siege did cost him dearly During one great battle He called out from his courser Yelling O so
A wench was wandering down a wynd when a pauper begging for pence stopped her to broach of the Bird of Wellimgale. The wench surmised it a tact to finagle her, but when the pauper told how the Bird would grant her any wish if she kissed it, she allowed herself to be waylaid by his words. He explained how the Bird lived on a precipice that jutted from an enormous bluff. Then he confided in whispers about a secret crystal-laden tunnel that wormed through the ground to meet it.
Timothy RJ Eveland 2014-11-30 (As this topic is being discussed more often, I felt obliged to release a paper I wrote in 2014) The global population has been estimated to reach over 9 billion by the year 2050 (Ash, 2013). Within thirty-five years, global food demand is also estimated