Masquerade

autumn_2016_cover-smallRegular readers of Pulp Literature will notice, as issue 12 starts arriving in their mailboxes, that there is not an excerpt of Allaigna’s Song within.  Instead you’ll find a short story, ‘Masquerade’.

It’s the first story I wrote using Dale Adams Segal’s The Hour Stories, at a writing workshop at Lodge at the Old Dorm on Bowen Island (where we now hold our annual Muse retreat).

It’s been through many revisions over the years, but the feeling of it remains.  It was the story that made me decide that maybe I could be a writer, after all.  I’m delighted to have it see print at last, beautifully illustrated by Mel Anastasiou.  I hope you enjoy reading it as much as I enjoyed revisting it!masquerade-title

PS: fans of Allaigna, never fear.  She will return in Pulp Literature issue 13, with the first chapter of the sequel, Allaigna’s Song: Aria.

 

 

Posted in Pulp Literature | Tagged , , , | Leave a comment

Sword Words

This post was originally published on Academie Duello‘s blog in March 2013, and is part of a series detailing the requirements for the Green Spur, or first rank of the Mounted Combat program.

Swordplay Knowledge

In the Horsemanship portion of the Green Spur curriculum you needed to know the common vocabulary of the rider.  Similarly, for the Mounted Combat checklist, you will need to demonstrate a basic level of swordplay knowledge:

  • Describe the anatomy of the cut and thrust sword
  • Describe two different types of cavalry sword
  • Describe three alternate types of mounted weapons

Anatomy of the Sword

The cut and thrust sword is a fairly simple creature, and the parts you need to know are:

Pommel: The counterweight at the end of the handle.  It stops your hand from sliding off the end of the sword, balances the weapon’s weight, and can be used to strike in close quarters.

Grip or Handle: The length of the handle not only determines whether a sword can be used in one hand or two, but also provides extra counterweight and hooking power for disarms.

Cross-guard or Quillons: Often just referred to as ‘guard’, these stop the opponent’s sword from hitting your hands, and can be used like the pommel for striking.

Hilt: this refers to the the entire section of pommel, grip and guard.

anatomy-of-sword

Forte: literally the strong part of the sword, this is the half of the blade closest to the hand, used for parrying, collecting, and crossing the opponent’s sword.

Mezza-spada: the middle of the blade, where the forte and debole meet.  This is the harmonic ‘sweet-spot’ of the sword.

Debole: the ‘weak’ part of the blade, furthest from the hilt.  The weakness doesn’t refer to the actual strength of the steel, but the mechanical weakness of being far away from the hand.  The debole is used for deflections.

Point or tip: the sharp end of the sword, used for thrusts.

True edge: The edge of the sword that aligns with your knuckles and elbow.  If you were using your sword like a knife to chop veggies, it would be with the true edge.

False edge: The edge of the sword that aligns with your thumb and the inside of your arm, and is upward in the more natural hand positions.

To get a better look at sword anatomy drop into our museum sometime, where you can see a dissected longsword and rapier on display.

Next week: the mounted arsenal

Posted in Cavaliere Archives | Tagged , , | Leave a comment

Pet projects

sketch - Dana's puppy smallOne of the rewards offered in Pulp Literature‘s recent Kickstarter campaign was pet sketches.  These were challenging but fun.  The challenge with the pug puppy was how contrasty he is.  He’s a creamy white with very dark markings around his face, and I wanted to capture his expressive eyes without losing them in the surrounding dark fur, and delineate enough of his white body without darkening it with too much detail.

The cat was the opposite problem.  He’s all black, with no markings.  As someone with two black horses I know how hard it is to get good photos of black animals.  His owner sent me several shots which I was able to manipulate in Paintshop to get some good detail.  I chose not to shade him in thoroughly, which would have been overbearing in a pencil sketch.  Instead I tried to capture his imperious and slightly mischievous expression, and left his colouring up to the imagination of the viewer.  Did it work?  You tell me.sketch - Natasha's cat small

Posted in Artwork, Pulp Literature | Tagged | Leave a comment

‘The Wolf’ due out soon!

Whew, it’s been a while since I updated this blog!  However that’s nothing compared to the time span between the days when I used to cartoon on a daily basis and sitting down to draw and ink an eight page graphic short for Pulp Literature.

It’s been a long and indirect path to here.  I started drawing comics back in university, as a diversion from studying population genetics or Paradise Lost.  Finding the Cartoon Centre in London UK fuelled my scribbling and gave me some professional guidance under artists Dougie Braithwaite (Punisher) and David Lloyd (V for Vendetta, Aces Weekly).  In a Continue reading

Posted in Artwork, Blog, Pulp Literature | Tagged , , , , , | Leave a comment

Mounted Combat at VISS

originally published in Academie Duello’s blog on 19 Feb 2013

Nicole-cjr2014

As wonderful as all our venues for the Vancouver International Swordplay Symposium last weekend were, none of them were quite large — or rustic — enough to host a mounted combat workshop.  Though we were sad not to be able to offer swordplay from horseback to the conference attendees, we did manage to bring a small group of instructors and guests to Red Colt for a mounted combat crash course.

Our participants ranged from experienced jousters and dressage riders to those who only had a few trail-rides under their belts, so we began the session with a quick riding lesson to let the riders get to know their horses and get used to reining with one hand as well as two.

Riding-cjr2013

Before picking up swords we worked on control and measure by exchanging the friendliest of blows — high fives on the lists.

In the program the first thing we do once we have swords in hands is sack out our horses. This involves desensitizing by passing the swords all around the horses’ bodies, slowly at first, and working up to cutting motions. Our horses are very blasé about swords, as you can tell from Jack’s expression as Nicole was testing him with the sword.  Nevertheless, a quick sacking out is a good habit to get into, no matter how many times your horse has seen a sword.

Sacking_out-cjr2014

Next we began moving around the arena practising simple X’s and ribbon cuts from the high and low lines. For these expert swordsmen and -women, such basic exercises would be child’s play from the ground.  However, controlling a horse with your legs and left hand while controlling a sword with your right requires significant brain and body rewiring from either just riding or just using a sword.  I always like to spend a few minutes doing practice cuts at all paces before beginning mounted drills.

Likewise, the sensation of receiving a blow is quite different on horseback.  On the ground, when you are hit you can step backward, absorbing the impact.  From horseback, you need to relax and yeild your upper body only to avoid being swept from the saddle as your horse carries on forward.  Our swords are nylon trainers, which allow us to deliver blows strong enough to break the opponent’s structure without hurting each other or our horses, and we practised simply receiving blows without parrying at first.

Because our group was small, Devon and I had the luxury of teaching from the saddle which made demonstrating plays easy.  From here we moved on to clearing the sword from low guards on the left and right, and eventually to follow-up attacks as our horses passed each other.

No mounted combat primer would be complete without a bit of grappling, so we worked on a few holds used to unhorse opponents.

As the light began to fade we finished up with our progression of mounted guards, and had some fun spearing rings and cutting blocks at walk trot and canter.

I was thoroughly impressed by all four participants. Nicole and Scott completely met my expectations as experienced riders.  Jessica and Sean progressed amazingly fast with good seats and control by the end of the day, thanks, no doubt, to superb body awareness from their years as martial artists.

None of this would have gone as smoothly as it did without the help of our volunteer ground crew who came out early to set up, ferried people to and from Vancouver, groomed, tacked up, and assisted our riders as needed.  Huge thanks to our team of squires: Aurelia, Chris, Crystal, Kirsten, Michael & Roland.  You guys are awesome!

Squires

To our participants, I hope to see you all again soon!

Jennifer Landels, Maestra di Scuderia
Academie Duello Mounted Combat Program

Panorama

mounted, left to right: Devon Boorman on Jack, Scott Wilson on Flavie, Sean Hayes on Chicco, Nicole Allen on Winnie, Jessica Finley on Princess.

photos: Chris Richardson

Posted in Cavaliere Archives | Tagged , | Leave a comment

Over, Across & Around: turning the sword

Swordplay from the Ground: the three turns of the sword

Gladiatoria_sword__buckler

 

The last of the swordplay skills you’ll need to demonstrate for your Green Spur is an understanding of the three turns of the sword.  These turns have the same names as the turns of the body, which makes them easy to remember. It may be helpful to review the cuts and thrusts of the sword to refamiliarize yourself with their terminology.

Volta Stabile

The stable, or fixed point turn changes the orientation of the sword’s edge from inside to outside, or false to true, without moving the point significantly.  It is easy to think of this in terms of rapier guards.  Changing from guard to guard involves a stable turn: the hand moves, say from palm up to palm down when switching from quarta to seconda, but the point stays on line.  With a longsword the hands may move farther and the wrists may cross when switching from a low to a high or an outside to an inside guard, but if the point stays on line it is a volta stabile.

This turn is used to change the line on which you are defending your body, to change a cut into a thrust, (eg, to change from a fendente to an imbrocatta), or to reach around the opponent’s sword in a punta dritta or punta roversa.

Practise your stable turns by placing your point gently on your partner’s open hand, or on a wall.  Change through your guard positions, from high inside, through the stretta guards to high outside, and back again, keeping the point in one place.

Mezza Volta

In the half turn, the point of the sword travels in semi-circular arc from one line to another.  Although the point makes a half-circle, the blade ends up about a quarter of the way along the cutting circle.  For example if your sword moves from inside to outside on the high line (roverso to mandritto squalembratti) this would be a half turn.  Another half turn is a cut that moves from a high to low guard on the same side of the body.

These turns often occur when the sword is parried but can also be used as feints, or to change the line of attack in response to your opponent’s movement.  However for the Green Spur we are not looking for this level of sophisticated response.  The ability to demonstrate a simple mezza volta of the sword is enough.

Tutta Volta

The full turn takes the point of the sword in a complete circle.  A stramazzone (a wrist cut that makes a full circle) is an example of a tutta volta.  So too is an elbow cut that starts in a low outside guard and delivers a roverso squalembratto to the opponent’s left shoulder.  In order to make that cut you need your sword point to travel in a circle behind you and across to the other side of the body.

Tutte Volte generally travel along the diagonal cutting paths from low to high, inside to outside, and vice versa, and are good preparations for powerful cuts.

Next week: Anatomy of the Sword.

Posted in Cavaliere Archives | Tagged | Leave a comment

Eight Horse Melee

Originally published in Academie Duello’s blog, 5 Feb 2013German_tournament_1480

I wish I had a photo to share from last Sunday’s Mounted Combat workshop.  The stars aligned so that all participants in the workshop were strong riders, and we had enough horses for everyone, including instructors.  That meant nearly three awesome hours of trading blows from horseback!  Having eight very different horses and riders on the field for that period of time offered the chance to experiment with timing, lines of attack and defence, and measure.  So I thought I would take a break this week from our tour through the Green Spur Swordplay from the Ground, and share some of my observations.

Position, position, position

I harp on rider position in riding lessons because it is so vital to good riding and good swordplay mechanics.  On Sunday I found that while I was concentrating on the line of my cut, the point of deflection, and clearing the sword to avoid hitting my horse, my position would deteriorate.  I needed to consciously put more weight in my stirrup irons and maintain a light seat.  Not only did my legs and seat bones become quieter, giving fewer false cues to my horse, my cuts became cleaner and more powerful as my waist and shoulders could rotate freely and my arm could extend further.

Timing

With two opposing circles of four horses we traded a lot of attacks.  When both horses are walking you have to be fast to get a riposte in after deflecting the opponent’s attack.  It is far easier to get your deflection and counterattack in if one horse is halted and the other is walking.  However, it would be suicidal to simply stand there in battle, even if it did make your initial defence easier.  I found the most effective plan was to halt or slow my horse when receiving an attack, then give her a light squeeze at the moment of deflection.  This added momentum to my attack and got me quickly out of reach of my opponent.  On occasion I even reined back during an opponent’s approach, waiting for the correct measure and timing before releasing forward.

Finestra_mounted

Measure

Some horses, like the two thoroughbreds, were road hogs and unwilling to yield the path to oncoming horses.  Others were reluctant to get into a close measure.  This naturally affects the types of plays that are available.  We found we often had to adapt our defences at the last second, turning from false to true edge, or from deflection to block.  It is great to test your adaptability this way, but challenging if you have to think about your best response.  I was grateful for the long hours spent on the ground practising these moves so they came straight from muscle memory without too much thought.

Know your horse

We finished the day with a grand melee of all eight horses on the field.  Most riders developed different tactics according to the abilities and temperaments of their horses.  Some horses were good at leg-yeilding and turns on the forehand to allow their riders to swing behind an opponent.  Those who weren’t relied on speed or quicker parries to protect themselves after an intial tempo.

It was a grand day, and I can hardly wait till the March Mounted Combat workshop!

Posted in Cavaliere Archives | Tagged | Leave a comment

Meeting with Swords

Fiore_meeting_in_front

 Swordplay from the Ground: Crossing the Sword in Front and Behind

For the Green Spur there are only two ways you need to worry about encountering your opponent’s sword: from in front, and from behind.

Crossing in Front

This is most direct and natural way of preventing your opponent from striking you. As she delivers her cut, you move your sword to block, or parry it.  For an effective parry the forte of your sword (‘strong’ half of the blade from the middle down to your hilt) should encounter the debole of hers (‘weak’ half of the blade, from mid-point to tip).

Crossing Behind

Meeting the sword from behind requires a bit more nerve and timing.  The aim is to redirect your opponent’s sword away from you, altering its path by striking it from behind as it travels through its arc.  Because you are using your opponent’s momentum rather than stopping it, you don’t need the forte of your sword.  Debole-on-debole will keep you safer by allowing you to be farther away from your opponent, and will in fact deflect the sword better.

You will not have to demonstrate these crossings against all eight cuts.  The abilty to meet in front and behind the sword from squalembratti (cuts to the shoulder) and an understanding of the difference is sufficient.

There is a ‘sweet spot’ in the middle of your blade (mezza-spada) which will produce the most rebound during parries and, if you’re using a steel sword, the clearest ring.  While it’s nice to hear and feel, your goal at this level is not to hit the sweet spot every time, but to make sure your parries and deflections are achieved with the appropriate part of the sword.

Fiore_meeting_in_front_2

next week: the three turnings of the sword

Posted in Cavaliere Archives | Tagged | Leave a comment

Cutting: Fluid Mechanics

I33

Swordplay from the Ground: Cutting Mechanics & Timing

In previous posts I discussed the eight lines and the three points of origin (shoulder, elbow and wrist) of cuts.  To make your cuts effective, however, you need proper body mechanics and timing of hand and foot.

Timing of Hand and Foot

A cut is most powerful when it lands on its target at the same time as your footstep meets the ground. This is easy enough to do when you are focussing on your timing.  However, you will want to practice the timing of your hand and foot until it becomes a natural part of your swordplay, and you no longer have to think about it.

Common errors include allowing the sword to finish its cut before finishing the step, or conversely, moving the body before the sword.  The first diminishes the power of the cut and may make it miss its target.  The second not only weakens the cut, it puts the swordsman in grave danger, by allowing his body to come to the opponent before his sword.

Always begin by moving your sword first, putting it between you and your opponent: the foot will catch up to land at the same time.

Power

Shoulder and elbow cuts involve not just the shoulder and arm, but the turning power of the hips and torso as well.  As you turn your hips, your shoulders and arm follow, driving the sword forward.  The leg is almost pulled forward into its passing step, and your foot lands as your sword does.

Marozzo_distesa

Fluidity

Although we use the term ‘mechanics’, you want your cuts to be anything but mechanical. To make cuts flow smoothly from one to the other takes practice, and a good connection through the torso to the sword arm.

If you find your movements are becoming disordered or choppy, go back to moving without the sword.  Practise swinging your loose arm like a tetherball, using the power of your hips and shoulders, stepping at the very last moment.  When you have regained the fluid connection of your body, pick up your sword again and continue to practice flowing in simple ‘X’ patterns, until you no longer have to think about the individual components of your cut.

This video from Duello TV illustrates sidesword fundamentals and some very simple exercises to start with.

(If the video doesn’t play for you, sign in — membership is free).

For the Green Spur you will need to demonstrate cutting with a sword in two hands as well as in one, but the basic principals remain the same.

next week: crossing the sword in front and behind

Posted in Cavaliere Archives | Tagged | Leave a comment

Getting the Point to your Opponent

Marozzo stocatta

A stocatta from Marozzo

The knight’s sword was not just a cutting weapon.  A well-aimed thrust delivered with the impulsion of a moving horse was a deadly combat technique.  It was also an effective attack from the ground.

imbrocatta

The player on the left is using an imbrocatta. Note the crossed hands.

There are four basic types of thrust, defined by the orientation of the sword hand.  Those of you who practise rapier fencing will be familiar with these positions as prima, seconda, terza and quarta.

1. Imbrocatta:  delivered with the true edge of the sword (knuckle side) upwards, and the palm facing outward (prima).  This is a descending thrust, with the hand high and the sword point lower.  When using the sword in two hands, the wrists will cross.  If the imbrocatta is difficult to acheive without contorting your body you can adjust your hand on the sword slightly so your thumb comes underneath.

fiore stocatta

An effective use of the stocatta (Fiore)

2. Dritta: delivered at shoulder height with the palm down (seconda), this thrust comes from the right side of the body if you are holding the sword right-handed, hence the name, which means ‘right’.  With two hands on the sword the pommel hand will be underneath the forearm of the sword hand.

3. Stocatta: an ascending thrust, delivered with the true-edge of the sword down (terza).  The hand is low and the sword tip higher.  This thrust can also be delivered slightly to either side (terza-seconda or terza-quarta).

4. Roversa: coming from the opposite (‘reverse’) side of the body, this thrust is delivered palm up (quarta). Like the dritta, this thrust is at shoulder height with the sword parallel to the ground.

Your thrust should be stable and direct.  If the point wavers as it travels it will decrease the speed and power of the thrust, so practise making your sword travel on as straight a line as possible.

Proper timing of hand and foot is important.  Extend your arms fully into position before stepping into the thrust.  Not only does this ensure your safety by first putting your sword between you and your opponent, it creates the maximum power for your strike.

Practise slowly at first, ensuring that your order of movement is smooth and natural and you can easily adjust your hands as you move through various thrusts.  Only speed up once you can put it all together well, and slow down again if you find your form starts to fall apart.

Next week: cutting mechanics

Posted in Cavaliere Archives | Tagged | Leave a comment