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Hey everyone! I'm making a fantacy story basically revolves around mercenaries setting out on an adventure to recieve a massive reward, and I'm planning on there being action, action, and more action! The problem is, I dont know the do's and the dont's to making a good fight fantasy style. This is a sort of modern fantasy. There will be swords, magic, bows, guns (yes, guns) and more. So can you guys give me some pointers? Maybe even examples if u want :P All help is appreciated :D

6/28/2012 . Edited 6/28/2012 #1
Kanarah J

Fight scenes can indeed be really difficult to write. In fact, I didn't even attempt one with any degree of seriousness until recently. I've never written fight scenes with more than just fists and guns, and knives, but here are a few tips that I think will be helpful.

1. Compound, complex, and compound-complex sentences are your friends. It's very easy to get sucked into "Character A stabbed character B with his sword. Character B parried the blow. Character A used magic...etc." Using variance with sentences helps keeps the fight from looking like an instruction manual, and more like a waltz.

2. Picture a realistic fight in your head. I've seen authors just string together words because they sound pretty, but when you really sit back and read what they're saying, the scene doesn't make any sense. It's easy to get wrapped up in the drama of a fight, bit it's really important to give the fight some actual realistic choreography since we can't use fancy video equipment to show the audience cool flips and turns or whatever. This is critical! I can't tell you how many scenes that I've read where authors just use words things like "swooshing dagger punch" and "high arching kick" and "double handed back flip" randomly throughout a fight scene to describe...nothing. A whole bunch of fancy things look great, but are they really beneficial to the fight itself? No. This kind of thing is really only suitable for movies in my opinion. When characters fight, it's usually to win, not to make the audience ooh and aah at the fanciness. This goes for complicated magic spells with bright lights.

3. Add in some dialogue or individual character thoughts. Not only does it break up the paragraphs upon paragraphs of fighting, it also can be a great way to add in the extra dose of drama without using all the fluffy action verbs. Character motivations can make even a simple stab wound have incredible impact. Here's an example: character A is fighting his brother, Character B. Character A conveys his disapproval of fighting during the battle through both dialogue and thought. Then, even though Character A has made this bold defiance in fighting, Character B stabs him--it's not a fatal wound, but it signifies that character B has completely dismissed their relationship. Boom! Drama.

Dialogue can also be helpful if you're writing out a fight with more than one person. By having character C make commentary on A and B's actions, you can seamlessly include him the fight without having to make awkward transitions.

4. Research is really important. If you're going to use weapons, know their names and parts. It's not "the part of the gun you pull to make the bullets come out;" it's the trigger. It's not called "a long wooden pole with a blade attached to the end;" it's called a scythe. For really complicated weapons which I would imagine might be the case for more fantasy fighting, you might find it necessary to describe some of the characteristics, though. This is kind of why I steer away from using a lot of fancy weaponry. I don't add customizations unless they're completely necessary, and even then they're simple changes that don't really effect much. Personally, I think the only point in bringing weapons into a fight is to increase your chances of winning, so adding complex things that would take years and years of supplementary training to master seems kind of ridiculous to me (even more so if that's the only weapon the character knows how to use). I digress, sorry!

5. Magic spells are tricky. When writing about them, I would suggest describing what the spell is, what it looks like, and then how it affects the character it's aimed at. Doing this one solid time will make it easier for the readers to get how the magic works in your fandom, and then simply naming the spell later will help you avoid cluttering up your scene with too much explanation.

For example, let's say I want my character (Let's call him Ren) to use an immobilization spell:

Ren could see Arthur from across the field, landing hit after hit to the men and women Ren had grown to love as comrades. His own development in magic was weak--a third year's level at best--but he knew that if he didn't relinquish some of his fears and put on the face of bravery as so many others had, all that he had grown to love would burn in this fire of war. He mentally searched for spells within his range, and immediately decided on an immobilization spell. It was simple, but it could buy some much needed time for his comrades.

Ren concentrated on Arthur: the broadness of his shoulders, the ripples in his muscles as he tore through the barren field with his mighty hammer, the swiftness of his step. Ren stretched his hand out to him and muttered the words he had grown so familiar with through his short months of study. His voice was low, but the words tumbled out smoothly, and he could feel the ancient magic gather at his finger tips like electricity. In mere moments, a faint pink light emitted from his fingertips and thrust forward, enrobing Arthur in a light of similar hue. Arthur's movements halted almost immediately; his mighty arms stopped fast to sides like a retractable wire, his legs drawn together as though with invisible rope.

The men Aurthur had been fighting stared at him with an almost comical bewilderment, but they seemed to remember the presence of mages in their party and continued on...

That was an incredibly rough example, but the spell was described, and for all intensive purposes, never has to be described again. From now on Ren and all the rest of the mages can use an immobilization spell without having it overly described. Furthermore, since magic in the fandom I made up works by saying a few words, magic light flowing from the user's fingertips, and then finally wrapping it around their victims, I can cut out a lot of explanation for that in subsequent magic spells, too.

Is that helpful at all? I'd really be interested in hearing what other people have to say. I don't have much familiarity in this area at all.

6/28/2012 #2

haha! Thanks this was a great help. And magic is one of my weaker points so your example helped alot! :)

6/28/2012 #3

Writing love and fight scenes are the most challenging for me. Beyond the helpful advice that you have already received:

- Let your scenes be character driven, not fight driven. Give your characters internal conflict which can deride the fight at any time. "Humanizing" the enemy is also useful as well. If your character is going to just hack and slash, make it challenging. Otherwise, go beat a tree or a straw man.

-Use YouTube to watch fight scenes of the weapons you intend on using. Pay careful attention to stance, action and reaction. How do their bodies move? If using a rifle, make reference to the kickback etc. What does a sword feel like when it penetrates flesh? The more visceral, the more believable.

-Decide before you write your scene if you are going to focus on fight-to-fighter or focus on battle tactics (movements of troops on the field) These 2 perspectives can co-exist but have to be woven together carefully to avoid confusion

-Avoid getting into the heads of too many characters during the battle. It can turn out quite confusing for the reader. Stick to your hero, and have them interact with his/her companions

-Make sure your battle has some ebb and flow, some roaring wild moments punctuated with lulls in the action. If its all crazy action, it can decrease the impact.

Good luck!

6/28/2012 #4

Solved all my issues. Hope it helps: http://www.fictionpress.com/s/2151501/1/How_To_Write_A_Fight_Scene

6/29/2012 . Edited 6/29/2012 #5

Fighting scenes are difficult, and depend on the type of the story you write. For action, I'd recommend

- less is sometimes more. Don't describe every single move. It will soon get boring and confusing.

- similar rule: always be aware where are all body parts of your characters. :D I've read many stories where I had the feeling that the characters had to sprout few extra pairs of arms and legs to be able to do what they did.

- use little dialogue. Occasional word or two as a warning is fine, but fight is no space for witty remarks.

- use little monologue. Even if you show it from inside the head of your hero, he would focus on a fight and surviving, not inner monologues and conflicts. There is enough time for that before or after the battle.

- strong verbs, shorter sentences, sounds effects.

- never use phrases like 'out of stamina', or mana etc. If your POV character uses a spell, or sees the spell he knows, he can call it by name, but it's good to combine it with effects so the readers would know it too. If he doesn't know the spell or is not a mage, he can only describe external effects of the spells.

6/29/2012 #6

Like Kanarah said: research. Also, think through the "why" of things. For example: Why bows when they have guns? There is a reason guns took over for bows: they are more effective and easier to use. If your characters are mercenaries, then they want to be as effective as possible. Why a less effective weapon when they have more effective ones?

Same goes for swords, actually. Unless you make your guns much less effective than modern guns, a lot of other weapons will not make sense to use.

And then there is all the different fighting-styles to consider. Different types of swords will call for different techniques, as will every type of amour, and weapon. I would advice concentrating on some types of weapons, to make it easier for yourself when researching.

As for the descriptions of the fights themselves, I'll only add to Kanarah's advice that it is better to be all vague if you don't know enough, then to try to make it detailed. Saying: "They fought" and follow it with telling/describing their physical fatigue, their emotional response or something similar, can work just as well as focusing on the technicalities of the fight-- the moves and so on.

From my main fandom, there is one description from the canon-material that I find gives such a good image of the warriors in question, and their fighting. The whole battle is much, much longer, but this one sentence gives, I think, such a good image:

"For morning came, morning and a wind from the sea; and the darkness was removed, and the hosts of Mordor wailed, and terror took them, and they fled, and died, and the hoofs of wrath rode over them. And then all the host of Rohan burst into song, and they sang as they slew, for the joy of battle was on them, and the sound of their singing that was fair and terrible came even to the City." (The Return of the King, The Ride of the Rohirrim)

Noting about the techniques, but still you can feel the shift in the battle.

I have not written much battle- or fighting scenes myself, but I have done some, and for large battles, I find Tolkien's approach very helpful: no real details of sword-strokes and such, but images that either stress the confusion, or gives an image of the large field, or some type of simile all works. I have a few fights that are more technical, and those are typically duels. Duel-like situations often calls for more detail of the fight itself.

6/29/2012 #7

That's lots of good advice. A few things I might add...

The main gripe for me about amateur fight scenes is believability. You need to understand the terrain, the characters, their weapons, their skills, their limitations, their motives and so on. Then plan the fight subject to those constraints. E.g., if they're in a building with furniture in the way, then it imposes limitations on their movements. If a character gets hit, then that will impact their ability and choice of next move.

I typically plan my fights carefully: the initial conditions, the desired outcome, and a series of stages needed to get from one to the other. Sometimes I resort to drawing a map on a piece of paper. I mark out the terrain, where the characters are at the beginning, and number where each step in the fight will move them. I do this to make sure it's all physically possible.

Also think about why the winner will win. What gives the winner the edge in that situation? Is it simply that he's more powerful: Pikachu almost always blasts Team Rocket off -- boring! Or is it something deeper about the characters: Potter ultimately defeated Voldemort because the latter had no respect for human life and wounded two of his key supporters (Snape and Malfoy's mother) to the point where they chose to betray him.

But don't forget the element of surprise. The reason the winner wins should not be obvious from the outset.

Probably something you already know, but you need to imagine yourself there. What will you see, hear, smell, feel (by contact), feel (emotionally) and even taste (blood in your mouth?) as the fight progresses? Describe these using short phrases, not long ones. Your aim is to immerse the reader into the battle, not to remove him from the immediacy of the situation by long-winded detours.

I've been reading Cyberwraith9's Avatar (a Teen Titans fic) and that has some good examples of fight scenes if you want to search through it. I might cite a few examples from chapter 17, a fight in a bookshop:

Books crashed like water against shoals at Mammoth's monstrous fists as they pounded after Starfire.

Whether or not it's a good simile, the point is that with a few words the author has conveyed sight, sound, action and emotion. The verbs drive the description, the adjective and simile fill it in.

The witch fell back with a grunt. Cherry sparkles trailed behind her as the spell in her hand dissipated, creating localized chaos as book all around her exploded into a cloud of literary confetti.

Longer description adds colour and variety, but also gives the sense of a temporary slowdown in the pace of the battle. But again, the words concisely convey both what you would see and hear in the situation.

Hope this helps.

6/29/2012 #8
Corinne Tate

I've read two different schools of thought here. One advocating long complex sentences, and one going for short direct sentences. Personally, I feel a fight isn't the place to change or abandon the way you've written up to that point. Those long complex sentences are great for description, especially when leading up to the fight. But strong, short sentences convey the immediacy of the moment.

I once read a critique of a fight scene, and one criticism was too much internal dialogue. Go ahead and think leading up to a fight, but in the middle is not the time to ponder how their sweetheart is going to react when she finds out about the fight.

I also keep in mind that fighting isn't pretty. Punches don't always land where they're supposed to. Swords need a certain amount of room to swing or poke. Armor doesn't protect against everything. Magic can catch your friends too. Friendly fire is a real problem. Equipment can break -- guns misfire. You can get stepped on by horses.

To me, a real battle isn't big on noble behavior. A handful of dirt in the eyes is still pretty effective. I don't ever have people so caught up in fighting fair, that they'll lose. People want to live -- Han shot first. When I write fight scenes, people will kick you when you're down, then walk on you.

I also make sure the idea of pain is there. It's always so heroic to see someone grit their teeth and keep going. Yes, adrenaline is a wonderful thing, but pain can take its toll. Simple stuff can hurt: Knuckles scraped on someone's teeth, falling to your knees in gravel, your singed face from the spell that narrowly missed, a jarring landing when you jump off of your horse, the jolt your sword hand takes when you hit someone's armor, the deafness a gunshot near your ear would cause, blood and sweat running in your eyes, and cramps and muscle spasms from swinging the weapons.

I like realism in fights. Ragnelle pointed out one good question; if you've got guns, why would anyone use anything else? You could make the ammo very hard or impossible to come by. You could make them like muskets, which require a difficult reloading process. You could make them unconventional, and rare. Or you could disallow them in a way, making them be seen as cheating or dishonorable. Otherwise, it does seem an unlikely mix.

6/29/2012 #9
Wow, everyone has such good advice. Thanks. In one of my plans the final battle will consist of 5 people: The hero and his 3 allies, and then a powerful demon how would I have to set up the battle so that all of them were partaking in it?
6/29/2012 #10
Kanarah J

I've read two different schools of thought here. One advocating long complex sentences, and one going for short direct sentences. Personally, I feel a fight isn't the place to change or abandon the way you've written up to that point. Those long complex sentences are great for description, especially when leading up to the fight. But strong, short sentences convey the immediacy of the moment.

Very true. I tend to write with a more emotion oriented, slow paced style so the long explanations work well for the fights that I invent and choreograph. If I was writing a melee fight, that really focuses on the battle itself rather than the back story, then the shorter sentences would work much better here. There was also a discussion earlier about whether or not dialogue adds or distracts from the work, and I think that it also applies to the above writing purposes. Dialogue can indeed clutter up important battles, and distract from the action sequence. Then again, if you have a small enough party, brief exclamations from party members from wounds sustained, or even light commentary on how the battle is turning out can also add a sense of urgency to the battle. It really just depends...

In one of my plans the final battle will consist of 5 people: The hero and his 3 allies, and then a powerful demon how would I have to set up the battle so that all of them were partaking in it?

In this case, even though you have the size of party that could go either way, and one foe to focus on, I think that the "melee" style would work better for you. Shorter sentences, few and brief character internal dialogue, and little single-person focus would probably work best. It sounds like this battle is to be more action oriented rather than "story" oriented, so adding in a lot of internal emotions might distract,unless of course I'm completely off base and you're using the battle to develop the character's personalities, and skills, etc. What is the purpose of the battle? Have your characters engaged in battles with foes before, or is this their first time taking one on together? Is this foe of particular plot importance, or are they there to add in a bit of action?

6/29/2012 #11
Well this would be considered the most important battle in the story. This is their final foe, the big important boss.
6/30/2012 #12

In that case how you build up to it is just as important as the fight itself. You want to make sure that the reader feels what is hanging on the outcome of this battle. Also, I would drag it out, not so much that you lose momentum, but enough to force the reader to wait in suspense. If it's all over quickly, it won't work. And the ending has to be unpredictable! It has to appear that either side could win until the last minute.

6/30/2012 #13
Then, what about combat warfare? anyone care to give pointer?
7/3/2012 #14
Kanarah J

In that case how you build up to it is just as important as the fight itself.

Cheers to this statement. Really good point. Fighting is useless without motivation, and setting up the story to create good, solid motivation can add such punch to your story!

Then, what about combat warfare? anyone care to give pointer?

What do you mean? What about combat warfare specifically?

7/3/2012 #15
the tutorial felt for one on one basis. what if the scene is full scale war?
7/4/2012 #16
Kanarah J

Ah, then I would recommend a certain amount of vagueness. As was said earlier, focusing on individual members of the war would muddle things up. Writing about a war could be approached in a couple of ways, depending on what you're trying to do:

1. As a third person narrator, simply describe what's going on, but instead of focusing on individuals, focus on the chaos itself, e.g. clanking weapons, blood soaked grass, roars of triumph and cries of anguish. A few short paragraphs that dramatically describes the scene itself would be more than enough to convey the urgency of this battle. Describe the warriors in groups (and do research on their official names), such as archers, swordsmen, etc., and how they move together. For instance, instead of talking about an individual archer knocking his bow, describe a wall of archers releasing arrows simultaneously from a point far away.

2. Show the readers what's happening through another character watching the battle. If one of the characters in your story is watching this war take place, e.g. from a window or nearby ledge, then he or she could make commentary on the battle, and even individual members in the field without confusing the reader. For example:

Claire watched the battle with welling eyes through the narrow window of her chamber. This was a war unlike any previously recorded in their young nation's history. Brother against brother, friend against friend all raising arms against one another. This was a war of men, and indeed the majority of those warriors were stout, well seasoned brutes with rippling arms and broad shoulders. Claire's own nephew, a smith by trade was somewhere among the calamity with his own weapon raised savagely above his head. But then there were others, others who couldn't have been more than adolescents. They should have been causing mischief among the merchants in the allies, dodging studies and basking in the unseasonably warm spring sunlight. Instead, they were part of this ferocious slaughter, raising arms against colleagues, friends, and classmates. It was perhaps this that sickened Claire the most; that the youth were being drawn into this savagery; this endless thirst for death.Again, that is ultra rough, but here we have a character looking in. If the character knows members of the battle, he or she can make commentary about those people, which can add a sense of danger, ferocity, and intimacy in an otherwise nameless fest of killing (up to M rated only killing, of course. ;) ). You can still draw in readers with a personal connection, even if the battle is by nature extremely impersonal, if that makes sense.

7/4/2012 #17
Nadya Lubov

I'm not sure how good they are, but here are some examples of the fight scenes from my "battousai" story I am writing now. I always like the idea of less is more, then the reader can use their imagination as well...

"...It seems as if Kaoru's world is running in slow motion, the words, 'sentence you to death,' repeating in her mind. As if on autopilot, her body springs up, and she jumps over the railing to land gracefully in the center of the courtroom below. Her arms and legs move on their own, dispatching the five police officers surrounding the prisoners, leaving only one. Kenshin Himura, who's hand is already on his blade. "I will kill you!" He screams, taking his blade from the sheath.

His approach is slow, or maybe it's simply Kaoru's perception of the situation. Her eyes never leave the blade as he thrusts forward, but Kaoru sidesteps out of the way in time. Another swing, but she spins ducking under the blade, just missing her scalp. She doesn't know how much longer she can dodge his strikes. Kaoru can feel her eyes well in frustration, and she takes a deep breath as she sees his sword positioned above her head.

Awaiting the killing blow, she closes her lids from the world. It's when nothing happens that her heart begins to flutter. She can hear the commotion around her, and the whiz of a knife flying above her head. 'Battousai!' Kenshin yells, and Kaoru's eyes spring open. Taking the opportunity, Kaoru kicks Kenshin in the stomach with all her power. It was just enough to knock him down, and get to her father who was already running through the courthouse attempting to escape with all the chaos..."

Here is another one:

"...Another pause, "run away now." With that, Shinta races towards the oncoming men, leaving Kao too scared to move. Even though she wants to listen to her young master, she can't help it, and manages to stand up. Instead of running the opposite way, she uses all her strength to rush and catch him. Finally arriving at the scene, she sees three dead on the ground, and Shinta fighting another man. Running towards them, she screams as a tall, gruff man wraps his arms around her waist.

'Kao-dono!' Shinta screams, surprised to hear her voice. Distracted, the man he was fighting manages to slash the boy's thigh, and Kao's eyes widen in fear as the man brings his blade down for another strike. Shinta manages to block, but can't keep his eyes off the girl being held by that monster of a man.

Fury rages within, and with a swift blow, Shinta brings up his blade, piercing the man's heart that stands above him. Kao screams once more, and removes the dagger from its sheath, jabbing it in and out of the thick arms holding her. The man drops her instantly, and she takes off running towards her young master.

Just as they are about to reunite, a shot rings out, followed by a look of terror on Shinta's face as he falls slowly to the ground.."

Finally, one more:

"...Running into the middle of the performance, Kenshin looks around for the boy. After a minute, he turns to leave, but senses someone coming at him from behind. Moving to the side easily, the person misses with their exposed dagger, blending in with the rest of the group.

Another masked figure attacks, but Kenshin blocks without fail, knocking the person to the ground. Pulling out his gun, Kenshin points it at the fallen member, but he winces with he feels a rock hit his wrist, causing the weapon to fall to the ground. It seems like he's surrounded by at least ten men, going at almost the same speed Kenshin is capable of. But, Kenshin realizes immediately that it is just one man, and finds him right away, knocking him out of his spinning frenzy.

The officer picks the gun up from the ground while a performer ducks down in the distance, using himself as a prop. Kenshin looks around again for anymore attacks, noticing just in time as someone leaps from the bent figure, dagger aimed at the lieutenant's head.

It all happens in slow motion with the person flying towards him, and Kenshin's finger pressing on the trigger. Screaming from the bystanders in the crowd is lost to him as the person falls to the ground with a thump, knife sliding from their hand. No! Kenshin looks quickly, face paling as he picks up the familiar dagger from the ground..."

I'm not sure how great those scenes are, but hopefully you can get some ideas :) good luck with your story :)

10/5/2012 #18

Does anyone know how to do a mental fight, as in two separate entities within someone's mind? If you have any advice, could you please message me directly?

6/9 #19

There is a great Amazon Kindle book called Writing Fight Scenes by Rayne Hall . I found it very helpful.

6/11 #20

I use three rules.

1. Know where my characters are starting.

2. Know where the characters are going to end up. Who dies, runs away, injured, survives, wins, loses, or is the battle a draw.

3. Battles are chaotic at best. Confusion rules a battle.

6/11 #21

For me, 3. is the really crucial one. If everything's clear to your POV character, it's all too easy to end up with a really good description of someone watching a battle scene on TV.

6/11 #22
Existiert Nicht

Well, if it helps, I watch action movies or anime or tv shows. I watch my fave things that have fighting in them and/or play action games and learn from there.

Watch something and try explaining what you see in your head and then write it down and see how it looks.

This is my story that has the most action in it. It's not amazing, but, people have never complained about the fighting. So, if it helps, you can look at my story or many other people's stories for help, too:

Fighting in a Story Example

6/12 #23
Does anyone know how to do a mental fight, as in two separate entities within someone's mind?

This link might give you examples to look up: tvtropes.org/pmwiki/pmwiki.php/Main/BattleintheCenteroftheMind

That said, what I find there is that a lot of them do sort of a "projection", so the mental battle, at least in imagery, plays out nigh-identical to a physical one.

One other thing that comes to mind is a fanfic that I enjoyed. In this fic, the characters were in cyberspace via mental projection. So a little like the TvTropes page but without either character actually inside the other's head; but what was interesting is that the slightest distraction, the smallest doubt, noticeably weakened the character. So trash-talking became even more important than it might be in a physical battle.

6/12 . Edited 7/19 #24

I'll draw some parallels with a physical fight.

Definitely understand (a) your starting point (b) your setting (c) where you want it to end up. That's the same.

With a physical fight scene, I find it helps to draw a map, understand the terrain, work out where the players are, what's predetermined and what options you have to help the story work out. For a mental fight, it's an abstract landscape, so I think you need to put even more thought into it to make the scene believable.

Determine what's realistic for characters to know. Wse the map to help you work out what they would see/hear/experience. Similarly, in a mental fight, what do the characters know? Do they have full access to each other's thought?

I choreograph the fight step by step and draw it on the map. That helps you visualize what's happening and avoid impossible situations. In a mental fight, what corresponds to their weapons, how do they attack each other, how do they communicate? Use those means to choreograph step by step what will happen in the fight.

The element of surprise is crucial. You need to keep what happens utterly plausible and within character, yet at the same time make sure each character does something that your readers would not have predicted yet still is within character and within their means. I think that's the same for the kind of mental fight you're envisaging.

Why does the winner win (or draw if there's no winner)? What is the key element that determines their victory? You need to identify this from the outset and play it at the climactic moment to turn the tides. Is it a stroke of luck, is it a realization, is it that they were stronger all along? Again, this is equally important for a mental fight.

Hope this helps.

6/12 #25

That's a great idea, I'll have to remember that.

6/12 #26
NaruTard 1.5

One major importance to consider, use description in the narrative to fit the actions of the character.

A more poetic or exotic character might 'weave through punches much like threading a needle' a more straightforward character might simply 'jab here and there and hope it hits' a sadist would 'refrain from squealing with glee as their sword cuts the opponent to ribbons' I'll admit these are horrible examples, but you get the basic idea.

And also consider how much the characters know about eachother, two people who've never met won't go straight for the other's weakness without weeks of research and preparation/debriefing beforehand.

If superpowers are involved, or just destructive potential overall; don't be afraid to go for the cardboard box approach. Think about it, how many times do you almost cringe watching a fictional character get slammed into the wall behind them, especially when it leaves a crack or even breaks through it. The character may still stand up, but you saw what happened, you know why they're struggling to get back on two feet.

6/12 #27
Uzumaki Sealgod
Which is a harder battle scene to do. A battle between two godlike being with equal power? Or two godlike beings with ALMOST equal power but the one with the slightly lesser power eventually wins?
10/2 #28
Which is a harder battle scene to do. A battle between two godlike being with equal power? Or two godlike beings with ALMOST equal power but the one with the slightly lesser power eventually wins?

Not sure it would make much of a difference. Either way someone has to win, the fight still has to be choreographed, and mostly I just think one relies more on influences outside the fighters themselves (i.e. the environment). Nevermind that unless the difference is very notable determining which one is stronger and which is weaker can be very nebulous.

By the way, I recall having to delete a couple duplicate posts from you. I'm sure it's unintentional, but please make sure to not click the 'post reply' button more than once - the post will show up in a few minutes. (Granted, it also might just be FFN glitching, but I haven't seen it much at all recently.)

10/2 #29
Uzumaki Sealgod
It duplicated when I pressed the back button on my phone XD sorry about that, Oh and the fight can also end up in draw. The Godlike beings are very well adapted to battle, and they pretty much have a whole arsenal of techniques and experience to counter almost anything. And one more thing. The beings are pretty much familar with each other, so its a hard battle physically and mentally. So is it a matter of resolve and determination that decides the winner?, or simply one have slightly more power than the other?
10/2 #30
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