Instead of counting sheep, I find myself repeating FLAT OF MY STRONG in my sleep.

Bio-mechanically speaking, the edge is always stronger than the flat. Also, it is clear from the design of the sword. If one was meant to parry strictly with the flat, then the cross-guard would protect the flat, not the edge.

If you find yourself questioning this "Flat of my strong" theory, I would suggest checking out Matt Easton's (scholagliaditoria) video on "edge only vs. flat only" parries. He talks about the same conclusion that I came to. In a real fight, I'm gonna parry with whatever side of that blade I can! Better the edge than my arm or head. My life is worth more to me than another session with my whetstone. Also it isn't hard to find stated in some treatises to specifically use your edge rather than your flat for certain parries. To me it seems unavoidable to use the edge at times (regardless of what mister Clements says) and therefore the matter holds little consequence in my training.

FLAT OF MY STRONG

I have only some limited access to the historical manuals, but here are some of the references to using the flat (perhaps for specific moves rather than as a rule) from Joachim Meyer: p21 on Hendtrucken: "...or go under yourself by hanging, and catch his sword on your blade's flat" p22, on Verschieben: "...and send your hanging blade over your head and under his blade, that you catch his strike on your flat" p22, on Hengen: "drive your grip above you so that the blade hangs somewhat toward the ground, and take his strike thus on your blade's flat" p32, On fencing from the stances: "...just as he slashes again, take his oncoming strike from your left against his right with your outward flat" p34 "...then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath" p 39, on hangetort "But if he strikes to your right side from above, then catch his strike on your blade's flat and step out to his right..." I do not represent Mr. Clements or ARMA as a whole, but I readily accept that using the edge is in fact far more attested in historical sources. However, I posted the above examples to echo Matt Easton from Scholagladiatoria to also remind viewers that flat "parries" DO exist.

Principally, John Atanasov (Atanasoff) invented the first computer. He actually was born and raised in Bulgaria, then working in USA. As for the video, you guy's are awesome! You opened my eyes about sword fencing. You are absolutely right about blocking with the flat. Now I try to convince as many people as I can to open their eyes too. Thanks a lot!

How do you explain the fact that every manual of the Lichtenauer tradition directly contradicts you here? We are told specifically not to parry as you are doing here, but rather to counter our opponent's cut with our own cut, and in so doing, the blades must usually meet at opposing angles. If we both strike Zornhau, our edges will meet. If he strikes Zornhau and I strike Zwerchau, our edges will meet. If I strike a Krumphau, our edges will almost certainly meet. Even Shielhau will result in edge binds quite frequently. The manuals never even mention a preference for the flat of the blade in parrying, and many later renaissance manuals specifically warn against parrying with the flat because it is biomechanically weaker. This notion is a modern myth and has no basis in Historic Martial Arts.

i think i missed something where are you supposed to block with

Thank God that someone teaches to block with the flat rather than the edge. So many people seem to think that it is a good idea to block with the edge. I have seen so many swords that have been wrecked by idiots like that. Thank you for teaching the proper method!

Here to pay homage to one of the most enduring memes in HEMA, aside End Him Rightly. FLADDAMASTRONG

im glad someone put subtitles to this, makes it alot easier to understand. as someone who has never had the means to go to a school and formally learn these things but rather have had to do so on my own, i appreciate it.

This is actually one of the fastest paced instances in which I've seen a mock sword on sword practice. Your assistant actually seems to be swinging the blade in real time, as apposed to the almost slow motion fights I am accustomed to seeing during training. Jolly good show.

not only you show the flat blocks but also the flat stances that is necessary... great video

I don't get why so many people have this weird fetish for parrying with the flat only. If you parry with only the flat you might as well take the crossguard off cause its not going to do anything unless you block with the edge.

All I need to say about this is FLADDAMUHSTRUNG

"And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside all strikes or thrusts." -Dobringer, c. 1389, MS 3227a

0:42 Arma in a shellnut

You may say it is not real, you may say that many people interpreting are bad interpreters. But you can’t say it is a bad thing for fencing. Artistic fencing is what today brings people to learn more about real sword fight (from any age and in any format). Sincerely hoping to have made you broaden your horizons, fencing salutations, Tiago da Cruz

This is for sure, one of the most enlightening videos that has been put out on the longsword. The logic is very simple once explained to you.

Great stuff! I love the intensity. Historical reference is nothing if it can't be applied in reality, at speed and at force of true combat. Hats off to you guys.

Nice way to lose fingers

Exactly. I learned it this way: block with the flat, if his sword glides down on yours give your sword a turn and catch his blade with your crossguard. This way you have the best of both worlds. A strong and fast block, you don´t have to fear to lose your fingers if he doesn´t stops his blade on impact and you have a great lever and control over his blade. For example he strikes to your neck, catch it, bind it, stap in his face.

You guys are my heros. There's no ARMA anywhere I live although I wish there was.

I have taken classes with Tobler, Sean Hays, Rob Lovett, Bob Charron, and several others. We on the other hand don't see any contradiction in Clements interpretations, they match the historical documents. But all the best to you in your work.

I give you credit for actually stopping the on coming force at impact. Most clips I have seen there is no force at impact. The thing I love must about the sword, is you can be that guy, that picks up a the very first time . The very first guy had no one to turn to and we still love it. Good bad and ugly. lol

I think an important point is that cross guards are shaped in the direction of the edge for a reason. If parrying with the flat was this imperative, all longswords would have had the appropriate hand protection required. If you catch a strike on the edge and it slides down, there is very little to stop it from hitting your hand. And at the end of the day, swords are tools. They are meant to defend your life. If you are forced to fight, and your​ sword is damaged,( which will happen no matter how you fight), if you survive, that is what is important. Edges can be resharpened, but, especially in the Middle Ages, a split head or a severed limb cannot.

This fellow giving the lecture is actually quoting quite a bit from the book of five rings by Miyamoto Musashi. Every movement he is doing can be done using the katana, don't doubt that. If you can't adapt new ways, new techniques, to fit the sword you are using, than something is wrong. Indeed some moves might work better in theory, however as I said, any can be adapted and used from this demo, trust me on that. I've yet to give my stamp of approval to one video, until now. Very Good job Arma.

Good to see there are others out there. Nice work, keep it strong.

I posted some examples a few weeks back...I don't have time to repost them right now. I can't speak for the others, but I've seen quite a bit of Sean's longsword work (he was an old student) and I agree, it's not overly impressive. The trouble is that he's not doing medieval combat, he's just "fencing" while wearing some armor. Or as my fencing master put it: "Look, I love Sean Hayes, he's a great guy, but playing dress-up while tapping each other with swords is what I did back in third grade."

Np =) I'll try to clarify further if I dont make sense haha. As far as I can tell, the logic is as follows: 1) Damage is taken when using the edge 2) Manuals do not say to use the edge to block 3) Manuals do, at least at times, say to use flat 4) Less damage (if any) is taken when using the flat 5) By simply standing in the guards , the flat is what receives the strike. 6) Having to turn the edge back at the enemy is a waste of movement 7) Edge contact CAN be avoided from all directions

1. Biomechanically weak way to parry, a risk of loosing a hold on the sword, or joint injury when receiving a cut while changing grips. 2. Swords will be damaged either way, they are tools to save your life, not an hairloom to last a thousand years, they can be fixed, thrown away, or maintained after the fight. You can't buy new hands. Stop protecting your sword when your life is on the line, parry with anything you can. 3. You can't expect every opponent to parry "your way", to add when someone parries your strike with their flat, your edge will get blunt along a much bigger area, its as if you hit a steel plate, the edge will roll on itself, their flat will be be marred with nicks which can facilitate breaking along that line. 4. Most guards are in line with the edge, you will loose fingers if you make a small mistake when flat parrying, such a great cost-benefit analysis, better to risk maiming yourself but maintain a little bit of an edge that will get blunt all the same when you strike someone, you have enough on your mind during a fight, don't make it more difficult than it has to be. 5. Bigger risk of permanently bending the sword, becouse you parry with an easily flexible part. 6. You loose the bind. 7. You can edge parry with the part of the sword that is most of the time not used to cut (strong or medium part) so no real loss. 8. Many museal pieces have edge nicks, either from parries or strikes. 9. According to the sources, only some parries would be made with the flat, do what gains you the most in the situation.

This is BS. Meyer CLEARLY states that one must block with the edge of the sword.

ARMA, im thoroughly impressed with you all. you guys are resuscitating the whole art. ive been stuck researching on your website and at the library for two days. i wish i could major in Renaissance martial arts. sweet vidz too.

It's a good thing they included subtitles in the video. The part about blocking would be a bit unclear without them.

His name is John Clements. The founder of ARMA and with him is Aaron the Deputy Director!

One day you will loose a finger parrying like that Clements. Or perhaps all of them.

Excellent show. Proper blocking and so close to parrying. The strike comes in, and you guard against it with the flat of your blade, and are now in a great position to repost. An immediate strike from most of these positions could be a kill. A fluid motion of such, I would consider a parry.

Not sure if anyone ever answered you, but the strong is the portion of the blade that is closer to the hilt. It's called the strong because you have more leverage for defense there, and the steel will also be thicker and wider.

Oh he does, he's demonstrated edge on flat warding in other videos. He also agnologes how a lot of the later Italian stuff is used mostly with the edge, but they were in single time stabbing motions. The longsword stuff, sometimes they mention the edge. Sometimes they don't.

this is a great video that can demonstrate to anyone who is only familiar with movie swordfighting just how wrong movies get it.

As a professional actor and stage fighter I, when performing fight scenes, tend to perform techniques as closely to “by the book perfection” as possible (correct distances hand position etc. as seen in the manuals from the age represented) without ever forgetting the performance side, the interpretation of the character and situation, and, most importantly, safety and the audience.

3) Trying to block with the flat a strong, firm, fast attack taken for example when your opponent is in position "coda longa et distesa". If your sword doesn't break during the block, at least you will take strong vibrations on hands. Edge block in this case is more stable.

I agree. Redirection is precisely how I would interpret setting-aside. The goal is to deflect, not notch. I believe this can be done with the strong edges because they are thicker and blunter than the weak edges. Additionally, angling your edge toward the cut protects your fingers with the cross-guard.

The membership fee to be an official ARMA member is an annual $40, $35 for active duty law enforcement or military personnel. Membership must be approved first before any payment is to be made, however. You can find additional information if you click the link in my video description and click the "Where to Start" tab. Then click the "membership" link for membership details. Hope this helps!

@Weissman33 Great question, there are several reasons I can think of. Most importantly it's because the guard isn't designed to be "defensive"; it's meant to cover you when you're ATTACKING. Visualize this: if your strike hits your opponent's flat and his blade slides to you, your guard will catch it. It's all about using displacing cuts instead of static parries. Every time you strike, that move should also cover against your opponent simultaneously. That's how the mastercuts work!

You're welcome :-) Yes, like a deflection or redirecting the other blade. Although I agree to Clements here, remember that especially the german longsword tradition teaches to be more active, agressive. Instead of awaiting the incoming strike with your flat it would be more you going in with your edge to displace the other's flat...

This is Thrand!!! Excellent Video.

Because of your wrist's angle. You turned your wrist while moving your arm the same as an edge parry. Keeping your edge facing forward and moving your arm (not just pivoting like an edge block) will give you the same strength since you aren't turning your wrist. Also remember, you aren't meant to simply block like in movies. Intercepting cuts that combine offense and defense in one swing are much more effective.

This was much more helpful than I thought it would be. Thanks!

Very good vid - thank you for uploading! BTW loughed myself into tears by reading some of these snappish posts here...

An other thing to remember is that the grossguard doesn't have to meet a blade at a 90 degree angle to protect you. If the sword and the guard is totally paralell then the sword will pass through without hitting it, but with just a tiny angle the guard will catch the blade.

@Weissman33 Hm, I realize that while I talk a lot about not doing static parries, the video looks like it's showing exactly that. But John is addressing a specific issue and not giving an entire crash course on longsword. I'm going to add that to the captions. Thanks for reminding me about that! =) Oh, and the Albion-Swords Maestro line has probably the best practice longswords. They're pricy, though.

Flat of my strong is swordsman terminology referring to the flat section of the blade in the lower half closest to the hands for those who don't know. I cannot blame JC (if that is him) or ARMA for the authoritative tone. Myths like using the blade to guard only hurt swordsmanship and is quite dangerous in practice.

nice to see your student throw strong cuts that proves that you really had skills cause if you fail at the block, the steel training sword can hurt you pretty bad

The crossguard protects you during your attacks and countercuts. It also protects you AFTER an attack hits your flat. Look at 0.33. I don't do it quite like that, but you get the idea. From that position, he can go into left Ochs "proper" with the short edge out, crossguard more or less horizontal, and then thrust. The opposing blade will slide into the crossguard and be thereby controlled as the thrust hits home.

Thanks for your approval :-D But well, I have to defend Clements in this that he was only speaking of one aspect of the whole swordfighting topic, I've seen some videos of him and I can imagine him being quite strong with the sword...

You've probably noticed that he spoke of "the flat of his strong" ;-) This is the half of the blade near the hilt which is thicker and won't flex that much. And often you don't hold your blade in a right angle to the incoming strike but in a way that will redirect it to the guard.

Thankyou, I had a sneaking suspicious this may be the case, and I'm grateful for the explanation. My friends and I have a couple of Federschwerter on their way in, I think we may have a lot of re-learning to do once we get to full-speed steel sparring...

Great Video, Sir. Two thumbs up!!!

A few more Meyer references: p32, On fencing from the stances: "...just as he slashes again, take his oncoming strike from your left against his right with your outward flat" p34 "...then with a step of your right foot drive with displacement under his blade and over your head, and catch his strike on your flat with your thumb underneath" p 39, on hangetort "But if he strikes to your right side from above, then catch his strike on your blade's flat and step out to his right..."

I have to agree with you there... incredible how a short video mind erases all the hollywood from you brain, ya know? Fantastic video.

Hi Fen, Gurk is right about slightly rotating the cross just after contact...also, you might have seen ring-hilts (cross guards with a ring on one or both sides of the cross; google image "15th century longsword" to see). These also work to protect (somewhat) one's knuckles. I use this kind of cross and it works very well with receiving strikes on the flat.

Very good examples, thanks for sharing! ZEF-2 has 2mm before the tip, ZEF-3 = 2,5mm, ZEF-5 = 2mm and so one. You're correct that some of the others are swords with 3-5mm thickness depending on their geometry (ridge, diamond shaped), but my original point remains: Compared to backswords like the Katana or the badly made modern reproductions or blunt training swords, real European swords ARE thin. That's my opinion but you're still free to bring up a specific sword which is thinner in comparison.

By the way, the first thing that comes up if you google "Hanko Döbringer" is the pdf on Mr. Clement's site...further proof that he did not actually read his "sources." "And as you turn aside all strikes and thrusts with the foremost edge, that is also displacing." "And you should also know that it is the foremost edge from the middle and up to the cross guard that you use to set aside all strikes or thrusts."

When I occassionaly recieve a high powered cut from a tip heavy sword, I find that blocking with the flat of my blade sometimes isn't strong enough to block the whole blow, or makes it harder to follow up with a quick counter attack.

Another thing--these are longswords, not broadswords. They're actually very different weapons =) Longswords and katana are designed very differently and are used differently. Crossguard vs round guard, double vs single edge, length, straight blade vs curved, etc. change the way the weapon is used. Curved blades are better at draw cuts, double-edged swords have 8 additional angles of attack, straight blades are better at thrusting...the list goes on and on. There's an ARMA article about this.

My point exactly. With better defense, you can go striking with better confidence. By defence I don't just mean blocking, I'm referring to counter strike as well. blocking or parrying is just the first phase of defense in my opinion, later on counter striking is developed through techniques or naturally through lots of sparring. And if you parrying or blocking your not losing because its better to parry or block rather than receiving a strike on any body part.

Yeah, I see exactly what you mean and I believe John talks addresses this in the vid. I don't know if you saw it, posted I right after I posted that comment to ignore it. Thanks anyway

im glad you made this video i have to tell people all the time why would i ruin my edge? you block with the flat freakin Hollywood

@gobdir Its difficult to see in video, but the angle the weapons interact essentially prevents the weapon from sliding down onto the hands. Actually, your hand is farm more vulnerable if you were to perform an edge parry (which ruins swords by the way) because your knuckles are turned out if you perform a parry with the edge. When a cut is displaced or received on the flat your knuckles and hand are tucked in more, making it less, rather than more likely that your hands will be struck.

@ruebuscm The "stifling" part is indeed edge on edge, but the base of the blade isn't really used to cut and is typically thicker. Also, the impact occurs before the swords' acceleration has reached its peak, so it's not that hard on the edges. Clements does seem like he has a prickly personality. When you get past that, though, he's really a great knowledge base and a great practitioner. He actually has a good sense of humor, it's a shame it doesn't come out more in the public videos. =D

The problem with the edge vs flat debate is that nobody I'd know of has ever tested how sharp swords handle in combat. If you receive a strike on the flat of your blunt sparring sword then it will react with high probability like the real thing would. But if you use the blunt edges against each other you can't say what would happen with real sharp swords; they will probably dent very deeply which would prevent further sliding and possibly not allow your usual technique...

I believe he's saying "flat of my strong" , which would mean the flat part of his blade at the "strong", which is the part of the blade spanning about 1/3 of the blade above the cross.

note: before someone argues the point of how kroon should be done, logically it must be done with the sword canted, rather than vertical. Danzig is very specific as to how things should be done. and you can't have the guard and the tip both up unless the sword is canted at an angle. if kroon is done vertical, only the tip is up.

I read some of JC's books and I tell that he's man to be respected for his knowledge, prowess and great value of his works for the research of lost European martial heritage. He might sound arrogant here, who knows how he is in casual life, but why do you care? Just learn the concept of blocks on the flat dammit.

Fighting is all about touching and not being touched, receive a punch to reach and break the opponents the neck, sacrifice the leg to a cut in order to take the opponents head. Stage fight is about technical performance and art and entertainment (they are compatible) - its just not meant to be real, and sometimes not even meant to seem real. Its meant to inspire dreams, to stir emotions and tell tales. Of course there are good and bad performances (as in everything) but…

very good video! I practice kenjutsu and our blending techniques focuses on mirroring and letting your blade slide off the opponent's, thereby smoothening the action and providing immediate transfer to counter-attacking. No blade with any technology can survive edge-to-edge contact despite what you may believe. It's more of a problem after armor development since blade would glance or break against plate armor, so the flat part is used in even more ways.

Today there are perhaps a dozen or so fencing schools (that I know of) that still teach actual fencing with older weapons such as longsword and rapier and dagger in addition to "modern" weapons. They aren't part of a "secret fencing masters lineage", they were doing it long before ARMA came about. Have you ever communicated, met, or trained with with any legitimate fencing masters? If not, it's a rather bold statement to say there aren't any.

1. You can turn your hand around on the hilt to get the same wrist position even when taking a blow on the flat. 4. See above. 5. The strike from an opponent will not come right from him but from an angle. Either from the side or above/below. If you have your edge towards that blow you have to turn it if you want it to face your opponent. I myself tries to mostly do flat parries, but as I don't think it's that much of an advantage I have no problem to block with the edge either.

I get the feeling that he said 'my boar's tooth' instead of 'my fool too' at 3:09.

"2. You will usually have one of your edges pointing towards your opponent, as you can see in the video. Not having to turn your blade is an advantage." He does turn the blade. Look at his wrists, particularly his right wrist. He often has his wrist bent inwards or outwards. He also shifts his grip at times to try to keep his wrist straight, but then his grip must be changed again to line up with the blade in order to strike with any force. None of these blows have any force behind them.

Railstarfish is right, the flat of the blade is much better at mitigating damage than the edge. What you are referring to is what happens when two swords of different composition clash at a specific angle. For example, this occurred for me when I was using a Bainite katana vs a stainless steel katana. The Bainite katana parried the stainless steel blade at (what would be) the flat of the weak causing the stainless steel blade to shatter. However, this is exceedingly rare.

He parries all the strikes with ease. Wow, his flat must be really strong.

I think you have it right on. Maybe titling the video "parries on flat" is kind of inaccurate, but I think the main idea behind this video is simply that one should not, and shouldn't need to, ever use the edge to fully receive a blow from the enemy. Thanks for the clarification though--I may consider renaming this.

These guys are quick! I like it! Good vid!

Note to the next commenters: Please refrain from bashing John Clements here. I posted this to display techniques and concepts in WMA, not personal character of JC or ARMA members. Plenty of members of ARMA share the same negative sentiments on him as others, but that does not change the validity of what he teachers here. JC alone is not ARMA. In addition, this video is years old. People can change over time, so please avoid these criticisms. Thank you.

I appreciate this discussion =) My take: Joachim Meyer, p21 on Hendtrucken: "...or go under yourself by hanging, and catch his sword on your blade's flat" p22, on Verschieben: "...and send your hanging blade over your head and under his blade, that you catch his strike on your flat" p22, on Hengen: "drive your grip above you so that the blade hangs somewhat toward the ground, and take his strike thus on your blade's flat" If not referring to the "blade's flat", what is he referring to?

No problem. I suppose you could interpret it that way, however I've found that even when doing flat parries with the edge leading, the parry isn't nearly as strong as when the edges are at direct angles. Heck, last time I parried with the flat (granted, it was an accidental case with a sabre) the blade actually ended up noticeably bent. You can also do single time actions when parrying with the edge just fine.

@SCBUAD I can not understand why anyone would think that the conservation of rare animals through husbandry is strange.... So I stand by my comment. Plus, I was also talking more about the guys doing it and not the actual swordsmanship. I was talking about the general overall excitement and emotions the guys were showing being more stupid than the actual practice itself.

Hope this reply isn't too late Fenrirsget. Blocking with the flat of the blade shouldn't need use of the quillons (cross guard) as the blade itself holds the opponent's blade. Any sensible opponent would go for another attack, or move away from yours, rather than trying to slide down your blade, and perhaps scraping the skin off of your knuckles. The knuckles do not stick out far from the hilt, and swords are (usually) diamond shaped. As a result, they're more likely to skip over the knuckles.

"There are numerous historical examples where blades were chewed up" Indeed, that's very true. But that doesn't mean that edge-edge contact was intended or desired. I have never seen a blade fare better with edge-edge contact than edge-flat contact (see my edge-bashing video), but if you have any such video demonstrations that show the contrary I would be happy to see them. Btw: Insults are neither helpful nor necessary. Please keep the comments civil. Thank you.

You asked ''Albion Prince is 1mm near the tip?'' whereas I stated that ''some blades I've seen in Museums who had barely 1mm near the tip.'' so I corrected you and gave you the actual thickness of the ''Prince''. Yes, I agree that I gave you the higher limit of Katana thickness, but these indications are plausible especially for battle swords. Remember that modern Tameshigiri cutting blades aren't meant for battle. I mentioned the hollow grind because it isn't representative of all swords (...)

How to use a longsword 1. Pick it up 2. Swing Congratulations you've learned it

Good sword steel in Japan was said to bend, not break, laterally. They fixed it by "rebending" it back. Meaning good steel in Feudal Japan took a permanent bend at no more than 15-30 degrees when blocking laterally, from the flat side. Modern steels bend at 45 degrees and return. Monosteel spring steel 90 degrees. Any sword that breaks from tatami omote was never properly heat treated. Or somebody was using it to break rocks before hand.

Kendo is very much a sport like modern fencing, if that's what you're looking for. The old Western styles you see here are reconstructed arts based on the original medieval and Renaissance-period manuals written by fighting masters in Europe. To date, these manuals have been studied and researched for years by The Association for Renaissance Martial Arts (ARMA), whose director is John Clements. This is legit and as non-bs as it can possibly be.

if you look at actual techniques, guards are not used to block. they are to keep the enemy's blare from sliding down to your hand and are used to catch the opponents blare in a tear down. remember that the flat of the blade isn't exactly the flat. the bevel is also the flat. blocking with the bevel would have the blade angled so that the guard still protects from the enemy's blade, which as gurkfist noted does not have to be at a 90 degree angle to stop the blade.

@Weissman33 Also, what he is showing is a very specific way of blocking that sets up for a specific set of counters. Their are many techniques that call for binding and winding with the blade, essentially jockying for the upper hand while the two blades are against eachother. The cross is essential here because without it, your hands would be cut off a thousand times over. Also, many cuts that you catch on the flat of your blade will cut your hand unless you then rotate the sword so cont...

I would encourage you to test it if you train with the longsword. I feel that I'm much stronger in some stances like left plow or when I do a zwerchhau or shielhau. It sure isn't the best way to hold your swords in all occasions but it's great in some. And it's really easy to switch from holding with the thumb around the grip and on the flat of the blade and back again.

Oh maybe I did, thanks for pointing that out. Have a nice day.

Stage fighting has to capture the audiences’ attention, and most importantly, help to tell whatever story is being told. The techniques should be executed correctly but at the level the character is able to perform (if the character is a bad fighter it will not perform that well).