As requested, I will proceed to blurb about how to hold a dagger, I have even spent some time drawing some demonstrations on how to hold them as well.
Before we get started, I’d like to introduce the dagger. There are tons and tons of variations of the dagger as there is really no true standard in defining them other than a short one handed dagger (aka, smaller than a sword). While there are many variations of a “small handheld sword” I will e touching on two main types:
Keep in mind there are other techniques other than what I will touch upon, based on era, country, and dagger variations. I am just discussing how and why to hold a rondel or parrying dagger. Feel free to correct me, ask me questions, or add more to what I have to say.
Is dual wielding (like two swords, a sword and a knife or two knives) an actual effectiv fighting style or just something that looks cool??
With two swords, not really. There’s a few stray examples. It’s not so much ineffective as incredibly difficult. With that in mind, you can absolutely learn how to do this as an exhibition technique. Which, yes, ends up in the range of something that looks cool.
A sword and an off hand dagger has a lot of utility. The off hand dagger actually becomes a defensive tool.This can range from something like a stiletto, used to deflect an incoming strike, or it can include a swordbreaker, which depending on circumstances might simply hold your opponent’s blade in place while you turn them into goulash with your sword.
It’s probably worth remembering that the parrying dagger is more common when dealing with lighter blades, while sword breakers were more common when dealing with heavier, slower, blades.
Dual daggers are a legitimate, hyper-aggressive, knife fighting option. You’re trading any kind of defense for more opportunities to attack. When the user has the element of surprise it can make a bad situation so much worse, but if their foe can respond, it can go wrong for the dual wielder very quickly.
If you’re wondering how a knife can go from being a defensive tool to an offense option, it has to do with the ranges you’re engaging at. Incidentally, a swordsman with an off hand dagger does have the option to attack at extremely close ranges where they can’t attack with their sword.
I know we’ve said this before, but weapons have specific ranges. Get too close, and you can’t use them anymore. A sword works best at a little over arm’s length. For example: A sword won’t do much good
while you’re lying on top of your foe. On the other hand, if you can reach out and touch someone, knives are always good to go. The advantage for a sword is it will add 36-40 inches to your reach.
It’s also worth remembering that a sword with an off-hand pistol was a real option up into the 19th century. You’d open an encounter by putting a bullet in someone, and then use the sword.
Matched set of rapier and dagger by Arms & Armor. Weapons such as these would have been commonly carried by civilians in the late 16th and early 17th century, as well as many military officers and even some cavalrymen. The hilts are blackened and the grips are wrapped in wire.
Domestic Rosvolio request, Benvolio helps Rosaline brush her hair and get her ready while they discuss various public events they're required to attend.
He was whistling. The man waswhistling.
She understood it for what it was – a childish attempt to goad her and
provoke her temper – but she was determined not to let him succeed. She would
ignore him, just as she had ignored him as he stood waiting in the doorway to
her chamber, nonchalantly slouched with one hip leaning against the wooden
frame. Just as she had ignored him when he slipped his parrying dagger from its
sheath and began to trim his fingernails with it. But through it all, Rosaline
struggled mightily to keep herself in check. Truly, the man was beyond
His presence alone set her thoughts on edge, and she did not understand
why he had been allowed to wait here in the first place, as she was still an
unmarried woman – although not for long, if the prince and the heads of their
two houses had their way – and he a known libertine of the worst kind. Above
all, though, he was a Montague, and she supposed few of her kinsmen would want
him roaming freely around the grounds of the Capulet palazzo.
Tonight was the banquet celebrating their betrothal, to be held at the
palace, and he had come to escort her, but of course he had arrived early –
another thing she was certain he had done deliberately, just to be irksome. So
now he had to wait as she finished her preparations, and with the added
distraction he was providing, it was taking longer than she had expected.
Rosaline told herself not to look at him, not to give him the satisfaction
of knowing that his petty provocations were having any effect on her at all.
But as she sat in her chair, pinning a lock of hair into place, she could not
help it if her gaze momentarily swept over towards him, taking in his long form
as he leaned against the door.
He was wearing a new doublet of rich dark leather, and even she could
admit that it suited him, fitting close at shoulder and waist. Flourishes of
cream-colored linen edged along his wrists and his half-unbuttoned collar and
she could spot a tiny nick right below the edge of his jaw – a casualty,
perhaps, of an unsteady hand during this morning’s shave.
His face, as always, was a handsome mask of devil-may-care arrogance, and
if there was something below the surface of that countenance he presented to
the world, she told herself she did not care to know what it was. Let other
women be drawn in by whatever charms he might possess – she was made of
The whistling – praise the heavens – finally ceased, and he let out an
audible sigh and crossed his arms over his chest, giving a wide glance about
the room until finally letting his gaze come to rest on her. Rosaline itched to
look back at him, to meet his proud glare with her own, but she would not give
him the satisfaction of knowing he had provoked her to a response.
“Is that what you plan to wear?”
Rosaline bristled; of course this was what she was planning to wear,
otherwise she would not be wearing it. Her dress, made of dark blue serge,
imported at some cost from Florence, was entirely suitable for the occasion, if
only a little plain, and besides, it was the nicest thing she owned. Not that he would
understand privation, being allowed to live handsomely at his uncle’s expense.
She glanced up, anger swirling through her veins.
“Do you find something objectionable about my gown, sir?” she said, with
“I’m not sure,” he replied, taking a step into the room, his dark eyebrows
raised. “Are you attending our betrothal celebration or a funeral? Or perhaps
you’re planning on taking vows at the convent as soon as the evening’s
festivities are concluded?”
Her hands curled into fists within the folds of her skirts.
“If that was all it took to keep me from a lifetime of your company, I
might well look to the convent!” She paused, pushing herself to breathe deeply
and regain her composure. “But, yes, this is what I
plan to wear.”
He offered her a small snort of disbelief. “Oh, come now, my lady,
there must be something slightly less sepulchral that will serve just as well.”
He walked towards the wooden chest that sat at the foot of her bed and gave it
a small tap with his boot. “What treasures might be found in this fine
reliquary, I wonder?”
And before she could even rise to her feet to stop him, he had lifted the
lid and begun to sift through her belongings – as if they were his, as if they,
and she, belonged to him already and she had nothing, not even a tiny corner of
an old battered storage chest, to call her own.
“Sir, I must protest at this!” she cried. “As my betrothed, you are
allowed certain liberties, but I cannot –”
“Ah,” he said, cutting off her words, his eyes fixated on something within
the depths of the chest. “A prize, indeed.”
At first she had no idea what he had found, but as he pulled it free and
began to unwrap it from the pale muslin cloth that covered it, she caught a
glimpse of brilliant velvet, tiny beads along the edging of the cuffs catching
in the warm light of the late afternoon sun.
In truth, she had forgotten about it entirely, for it had been at the
bottom of the chest for several years, and it had been longer still since she
had seen it gracing the figure of its original owner. The memories welled up
like tears: the last Twelfth Night they had all been together as a family, the
house draped in festive curls of ivy and servants piling the table high with
dishes, the aroma of onion and sage from the meat pies making Rosaline and
Livia’s stomachs grumble with anticipation, and at the center, orchestrating it
all, a honey-voiced woman in a beautiful burgundy-colored gown.
He unfolded the dress and lifted it up to get a better look, letting the
skirts swing freely without touching the ground. Something in his face, though,
had shifted. The arrogant expression had slipped away, two tiny lines now appearing
between his brows, his gaze unmooring itself from the object in front of him.
It made little sense, his reaction – and then through the haze of her own emotions
she remembered that he, too, was an orphan. When had been his last Twelfth
Night? she wondered.
“‘Twas my mother’s,” she said quietly.
He nodded, and after a moment turned his head to look at her.
“Will it do?” he asked. “For tonight?”
To her surprise, she made no objection, only calling for a servant to come
and help her change, for she needed another pair of hands to loosen the lacings
of the old gown and tighten those of the new. She worked quickly, tugging the garment
into place, only once or twice taking advantage of her position from behind the
dressing screen to watch him absently pace along the length of the stone floor.
But once Rosaline finally emerged, fitted and laced, she found herself
unwilling to meet his eye, overcome by a strange and altogether uncharacteristic
fit of self-consciousness. She kept her gaze lowered as she returned to her
seat and at once resumed the pinning of her hair. Every part of her was acutely
aware of his presence – and the directness of his gaze upon her – but even so, she
did her best to ignore him, just as she had before.
He slowly circled around her, finally coming to a stop nearly in front of
where she sat.
“Hmmm, not quite,” he said, his voice cool and appraising.
Her heart sank deep into itself, heavy with disappointment, followed no
less quickly by a thunderous voice rising in her mind, unbraiding her for
caring a whit for what this Montague cad thought of anything at all. Sweet Jesu,
was there no end to his torment of her? He would dare to offer criticism of her
attire, even after he had been the one to request that she change it? He would impart
cruelties, even after she had foolishly confessed to him where the burgundy
gown had come from?
A newly-hatched barb was ready on her tongue when he suddenly kneeled down
in front of her, his hand reaching into his doublet and pulling out a small
object wrapped in a handkerchief.
“You are missing something,” he said, unfolding the fabric in the palm of
his hand until at last it revealed a pair of luminous pearl and ruby earrings
set in filigrees of gold. “These.”
Rosaline’s breath wavered within her chest as she gazed down at the
jewels. Where had he possibly come by such finery? And what did he mean by
presenting them to her in this manner?
“They were my mother’s,” he murmured. “And now – if you wish – they shall
She hesitated for a moment, as the thought of accepting anything at all
from this man was too new to seem anything but strange. But overcome by the allure
of his gift and – in some immeasurable way – by the blush of sincerity in his sea-green
eyes, she reached out and took the earrings from his outstretched hand. The
stones were still warm against her fingertips – warm from him, she realized,
from having been carried so close against the heat of his body.
Setting that unbidden thought aside, she quietly murmured
her thanks and then slipped the earrings on one at a time, taking a tiny pleasure
in the feel of them as they graced along the side of her neck. She had no
looking glass by which to judge, but she felt certain they looked beautiful and
served as a fine complement to the dress she wore.
The smile on his lips – perhaps the first he had ever freely
given her – seemed to tell her that as well.
“But now, if you will hand me one of your pins, my lady?” he
asked, extending an open palm to her once more. “Your chambermaid has
disappeared and I wish to be of some use. Perhaps then,” he continued, his tone
low and arch with measured drollery, “we might arrive at our own celebration
before the night ends and the morning breaks anew…”
[my Still Star-Crossed ficlets are on AO3 – read them here]
The law is clear: whoever correctly answers three riddles will marry the prince, while all who fail are to be executed. The people live in fear as more challengers try and fail, and the throne grows bloodier with every passing year. But a young prince, nameless and in exile from his home, believes there may be more to this brutal challenge than meets the eye.
Of course, there’s only one way to find out: ring the gong, and take the trial.
The sun was low in the sky, and the streets on the outskirts of the city were quiet. The people who lived here were those that kept their heads down, minded their own business, and did their best not to draw attention to themselves.
This mattered little to the young man racing through the streets, feet aching as they pounded the stones. His breath was short but he was not yet winded, the pressure in his lungs not quite a burning.
He threw a quick glance over his shoulder, and slowed his pace when he saw that his pursuers were beginning to lag behind. Losing them now was no good—if they gave up, they might go back to hunting the others.
Dual wielding swords might be impractical anon but what isn't impractical is a girl with a sword and a parrying dagger that she can use to disarm and rob her less deserving opponents. and there's so many sweet looking daggers to choose from
Broadsword: This stout, wide-bladed weapon
lacks the accuracy of a longsword, but what it lacks in
accuracy, it redeems with deadliness.
Craghammer: This dwarven hammer has a heavily
weighted head, making it resemble a one-handed
maul backed by a deadly spike.
Double Axe: Fitted with an axe head at each end,
a double axe offers increased offensive and defensive
Double Flail: This weapon has a spiked flail head
at either end to maximize attack and damage.
Double Sword: This well-balanced weapon
combines the deadliness of two longswords with
increased defensive capability.
Execution Axe: This broad-bladed axe is heavily
weighted for greater hewing power.
Fullblade: This enormous, two-handed sword is
favored by fighters and paladins.
Greatbow: This massive, recurved bow stands as
tall as a human when strung, and it fires arrows with
greater power than a traditional longbow.
Greatspear: This reach weapon resembles a longspear,
but its broad head and strong haft allow it to
strike with increased force.
Heavy War Pick: This larger version of the light
war pick delivers devastating strikes.
Khopesh: This sturdy weapon is identified by the
crescent-shaped curve at the end of its blade.
Kukri: The blade of this heavy knife curves forward
for greater potency. A rogue proficient with the
kukri can treat it as a dagger for the purpose of the
Rogue Weapon Talent class feature.
Light War Pick: This smaller version of the war
pick is suitable as an off-hand weapon.
Mordenkrad: First used by dwarf shock troops
in battle against giants, this oversized two-handed
hammer has a massive head studded with spikes.
Parrying Dagger: This narrow dagger features a
specially designed guard that can deflect attacks. A
rogue proficient with the parrying dagger can treat
it as a dagger for the purpose of the Rogue Weapon
Talent class feature.
Repeating Crossbow: A rectangular magazine
attaches to the top of this crossbow. A double-action
lever drops a bolt into place as a free action, then fires
it as a standard action. A repeating crossbow does
not need to be reloaded as long as it has ammunition
in its magazine. A magazine costs 1 gp and holds 10
bolts. It takes a standard action to remove an empty
magazine and load a new one.
Spiked Gauntlet: These gauntlets are specially
fitted with metal spikes. Unlike other weapons, the
spiked gauntlet occupies your magic item hands slot
Scourge: This lightweight flail has leather thongs
inlaid with sharpened bits of metal or bone.
Spiked Shield: This light shield is constructed
with a sharpened spike at its center. A spiked shield
can be enchanted as a magic shield or a magic
weapon, but not both. A spiked shield enchanted as
a magic weapon does not occupy a character’s magic
item arms slot. Although a character cannot use
two shields at the same time, a character wielding
a spiked shield enchanted as a weapon can employ
arms slot items such as bracers.
Superior Crossbow: This crossbow appears
similar to a traditional crossbow, but it has knobs
and dials that allow the weapon to be fine-tuned for
Tratnyr: Also known as the wingspear, this
weapon was first crafted by the dragonborn for maximum
efficiency in melee and ranged combat.
Trident: This three-tined spear is weighted for
throwing over short distances.
Triple-headed Flail: This oversized flail has
three heads for more potent attacks.
Urgrosh: Originally of dwarven make, this
weapon has a heavy axe head at one end (dealing d12
damage) and a sharp spear point at the base of the
haft (dealing d8 damage).
Waraxe: This weapon’s superior balance allows it
to be wielded in one hand.
Oh brave knight, I need to ask something of you. As a master of medieval warfare, how were basic weapons classified? Example (shortsword, longsword, polearm, longbow). I want to make a list of weapons for my setting/system (and I don't want to get too specific or too vague)
Oh good Anon, I shalt do mine utmost to instruct thee.
Swords historically are a mixed bag. In earlier periods, any sword, regardless of length is classed as “sword”, rather simply. “Short-sword” generally is a term referring to ‘half-sword’, which is a technique of the longsword (or ‘sword in two hands’).
Single-handed swords (’arming swords’, messers, etc) usually just fall into this category until later periods when larger swords are in circulation. In Tudor England, tournament rolls deem terms for weaponry, such as “sword, bastard sword and longsword”, though the middle term does not specify exactly what this means, so we are uncertain. By modern terminology, a bastard sword is a longsword or katana - a weapon that can be used ideally in both hands, but easily in one. Elizabethian terminology seems to differentiate on this, or perhaps a “longsword” referred to the greatsword used in Spain and Germany (montante/bidenhander).
Most cut-and-thrust weapons are simply deemed ‘sword’ equally so, making distinction without description difficult. But considering that the time period in which they come to be favoured largely makes them the sole sword one thinks of apart from the greatsword, this makes some sense…though arming swords were still used, though less frequently, and likely still deemed ‘sword’.
Later periods (especially the renaissance) introduce new types of ‘swords’, suh as the cinquedea in Italy, the baselard types with handguards for rapier fencing, ale-house daggers, etc. Normally categorized as daggers, these do occasionally get called a type of sword, though I am unsure of how often in contemporary accounts.
These tended toward their pole-head function, but were generally used similarly, and Meyer certainly considered them virtually identical in practice. Poleaxes are a strange case as they were rather varied, and could have either a hammer OR axe-head, a spike on top being universal, and either a pick-spike or hammer at the back. Spears are self evident, though different types of spear existed, usually termed based upon the broadness of the head, and the use of flanges/wings to prevent deep penetration. Billhooks are a specialist type of pole weapon, usually a peasant weapon, but anti-cavalry, meant to bring them down. Think of them as a cheap and easy answer to the nobleman’s poleaxe. Pikes are essentially a really long version of a poleaxe, closer to a Halberd (with is a massive axe with a spike on top), used to prevent cavalry and to wreck infantry at range. Made famous by the Swiss, and used to devastating effect. Other polearms existed, but as you can imagine, length, region, and shape of the head tended to designate the name of the weapon.
Tended toward the function and build, as well as nation. English Longbow/warbow was specifically made of yew heartwood, preferably from the Mediterranean regions. They were generally massive things, not being composites or recurves, but made from a single stave, sometimes taller than the user, able to have a draw weight of something about 185 lbs supposedly. Originally, they were actually Welsh in make, but after the English encountered them and found they occasionally punched arrows through shields, they adopted them readily.
Most bows were used for hunting, and of a short variety, lacking the same weight and size of the massive warbows. Think closer to modern bows in size, but not packing as massive a weight, generally about 50-70 lbs. Likewise, they varied in type. Eastern bows tended toward Recurve design, some hunting bows seem to utilise this.
Bows tend to be designated by terms of size, weight, and function derived from this. Larger bows function well combat wise, for obvious reasons (draw weight).
Dependent upon time period. Early daggers are basically swords in miniature, but high-to-late Mediaeval periods tended toward the rondel dagger which is more of a sharp spike meant to slip between armour. I think @we-are-rogue can cover this section far more readily than I, and has done so before, so I’ll leave this open.
I will add that later period daggers take a lot of forms, with the Cinquedea of Italy being a throwback to earlier designs, being a tiny sword with a lot of thrusting capability, and parrying daggers themselves are slender blades with prongs for blade catching, but work well for thrusts.
This is Malik, an Egyptian pro hero who worked in Cairo before going to Japan to volunteer to help fight the league of villains. His quirk is being able to control speed and pressure of air in tubes. To capitalize on that he uses a blunt hollowed out rapier and parrying dagger which he uses with his quirk for precise and powerful blows.
He’s an overall friendly and pleasant guy to hang around even if at times he seems a bit too cocky, something he uses to cover his deeply analytical mind.
He used to be a bit of a hotshot who used heavy bulky gauntlets and powered through combat with brute force but one day he met a villain capable of withstanding his attacks with openings he couldn’t really exploit. The meeting ended with him losing an arm and most of his self confidence. He requested a prosthetic arm and decided to start training to be a master of finesse weapons and a technique heavy warrior, seeing as his methods weren’t working well.
Again, this is all really basic stuff. I am by no means an expert in anything. It’s just that I’ve seen a lot of fic writers getting confused by this stuff. So if I got my facts wrong I take corrections!
Anyway, lot of you people will simply nod your heads and say “but I know all of this already”! Well, but there are people who are just now beginning to become fascinated by cloak and dagger fiction type fighting & weapons. This is for them.
I totally redesigned peacock!Nino’s outfit for my fanfic, and I like this so much better.
His weapons are three throwing daggers, which are the decorative tips of the aiguillettes (the braided cords). He just snaps them and lengthens them with a button press. The one on the right serves as a communicator when the button is pressed.
He can use his daggers to parry, pin enemies, stand on, and to perform his attack, Seeing Eye. He can summon them back to his hands if he concentrates.
“Hello. My name is Inigo Montoya. You killed my father: prepare to die.” “My name is d’Artagnan of Lupiac in Gascony. Prepare to fight: one of us dies here.” “Can I ask why?” “You murdered my father.”
Murray Gold’s gorgeous, cinematic score
unapologetically Wild West tropes: gunfights complete with people hiding in and under wagons, people falling off buildings and crashing through porch roofs, and good guys killing bad guys with one shot while no one else gets a scratch (not even damsels in distress caught in the crossfire). Never mind that guns were terribly inaccurate at that period. But those bad guys (and some good guys) die instantly (and bloodlessly), unless they have something important to say first, in which case they obligingly wait for the hero to run over and kneel down next to them, then die artistically. Like in opera. Or Star Trek. And of course there very last scene in the entire series is of the four of them riding off into the sunset.
Mr. DarcyMr. Rochester M. le Comte de la Fère
(spoiler:) Saving Constance! Yay, she lives!
location, location, location (not a studio scene to be had)
the fantastic male costumes (did I mention leather?)
the horrible female costumes, which look like they were made for a Project Runway Disney Broadway challenge. They are so bad they are great.
Athos’s shouty voice
Athos’s quiet voice
two-handed swordfights, with rapier (sword) and gauche (parrying dagger)
sweaty chest hair
dousing actors with water every now and then for that sexy wet hair or wet shirt look
did I mention leather?
Aramis throwing himself on an unexploded grenade to save the queen and his friends (spoiler: it’s a dud, so he lives)
Roger the Horse
Big, 17th-century style (King Louis)
The Bodyguard, 17th-century style (Aramis and Queen Anne)
Rules for Card Games and Duels with Porthos
Monday Mornings with Athos (including breakfast recipes, grooming tips, and flower-pressing)
Gastronomy with the Gascon (restaurant reviews by d’Artagnan)
Manly Homemaking Skills with Aramis (sewing projects, DIY brandy still and brandy, and baby handling tips)