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Anya. Independent work. Jar'Kai style - fighting with two sabers

In recent years LucasArts doing some weird stuff. They sponsor strange experiments like bland Fracture. They stop development Indiana Jones and the Staff of Kings. That batches release simply shameful games on the TV series The Clone Wars. Because of this new general line, the Star Wars universe is slowly losing its charm.

That is why the uneven, obsolete Jedi simulator in terms of game design The Force Unleashed became for fans of the series "A New Hope". After all, it was real Star Wars - with Force Choke, lightsaber battles and a tragic ending.

Dark side

The first thing you notice when you meet The Force Unleashed 2, is the atmosphere. The utterly noirish rain lashing across the cold metal platforms of the Kamino, the brutality, filth, and violence next to the neon casinos of Kaito Neimoidia don't quite fit with what we're used to seeing in Star Wars lately. The game starts on Kamino, the planet we saw in Attack of the Clones, where the Republic secretly raised its army. In one of secret laboratories Darth Vader is doing creepy experiments. It is there that we first see Galen Marek (aka Darth Starkiller) - in chains.

Those who went through the first part to the end know that Marek died heroically in the final. According to the developers, they still cannot believe that LucasArts approved such a gloomy ending ... and in new game are going to embody an even more provocative story! So, at the very beginning of the game, Vader informs the shackled hero that he is a clone, and the real Marek has long been dead. After this frank dialogue, the hero manages to escape under unknown circumstances; frustrated, he jumps into the first airlock he comes across.

I loved you…

Of course, Marek is not going to commit suicide: flying from the tower is just an introductory interactive cut-scene in which you have to dodge and destroy objects in the way. The introductory mission ends in the most cheeky way LucasArts could come up with: Marek hijacks Vader's TIE-fighter and flies off in it to look for Captain Juno Eclipse, to whom he is clearly breathing unevenly.

LucasArts is trying hard to show how much has changed main character and his vision of the world. He no longer wants to run errands for Vader or the rebels. Marek walks towards his beloved with calm and measured steps, habitually destroying everything in his path.

The choice of masters whom the hero is forced to serve is replaced by the hero's internal conflict. In his wanderings, Marek meets an old acquaintance, Kota, who makes him doubt Vader's words. Kota reminds that it is impossible to clone a Jedi, and all previous individuals have gone crazy over time.

Did Vader lie to him? Is Kota lying, trying to take advantage of him? In search of answers to these questions, Galen will fly to Dagobah to meet Yoda and visit the famous cave where Luke Skywalker will see himself as Vader five years later. Visions that torment the hero along his entire path will add a special urgency to the wanderings. They must be caused by a severe injury sustained in the climactic battle of the first part... or they are the result of cloning, and the replicant Marek is going crazy!

Soresu (also known as form 3) is a fencing style based on sharp and precise defensive movements. Unlike most styles, the soresu adept's main tactic is to patiently block or deflect blows until the opponent makes a mistake, allowing the fatal blow to be delivered. An example is the finale of the Third episode, Anakin's fight with Obi-Wan (Obi-Wan was considered one of the greatest soresu masters).

In TFU, Marek used a soresa for additional protection - for example, from heavy blaster fire.

Sheen and jam so

This style was created by the Jedi, who practiced soresu, but felt that Form 3 underestimated offensive potential too much, making fights too long. The style is divided into two variants - shien proper and jam so. Shien is primarily aimed at combat with numerous opponents and at reflecting blaster fire. A characteristic fighting stance: the sword is laid back, the hilt is squeezed with both hands, the supporting leg is laid back. Jem so is a more aggressive form, more suitable for duels with one opponent.

Galen Marek uses shien as his main form of combat. At the same time, he owns the rarest version of this technique - the Shien of the Sith.

Ataru

Ataru (form 4) as a style of swordsmanship is practically not used in either games or films (except for the First Episode and fights involving Master Yoda), but there are elements in absolutely all games in which you can control the Jedi. The basis of the style is the use of the Force to accelerate and strengthen the movements of the Jedi, including - to make jumps over gigantic distances. Ataru is considered the most aggressive of the seven canonical styles, but it requires high concentration and connection with the Force, as well as a lot of free space. It was because of the uncomfortable environment that one of the most famous ataru masters, Qui-Gon Jin, died.

In TFU, ataru is used solely to give Marek agility and speed - Force Jump and Force Dash are examples of this style.

Jar'kai

double frenzy

In each interview, the developers from LucasArts emphasize that TFU2 is, first of all, a gigantic work on the mistakes of the first part. And, strictly speaking, there were a lot of them. This is not the most successful game design (here is the level, here are the opponents - have fun!), And the imbalance, and the vaunted physics, not used anywhere except the very first level.

Now the game is more linear and better debugged. The general structure is the same: TFU2 is a slasher. If Marek is like a mixer not grinds droids, he solves puzzles like “where else to stick a sword” and, with the help of telekinesis, assembles bridges over abysses. There will be fewer boss battles, but they will be more difficult, longer and more spectacular (the shamelessly giant monster Gorag is a living proof of this).

Well, the main innovation flaunts right in the game logo. Game number two - the same number of lightsabers Marek holds in his hands. How exactly the combat system will change, the developers are still keeping a secret - for sure it will be sharpened for battles with several enemies, the long-awaited combo-breaker will be added, which allows you to stop the combo in the middle (if you suddenly notice that the enemy being beaten is somehow unnaturally limp). But all this is not so important, because the fights look simply stunning.

The fetishistic enjoyment of lightsabers reaches its climax. Marek foppishly holds both "lightsebers" with a reverse grip - crossing behind his back, the swords seem to fit the hero into a luminous triangle. When the hero begins to swing two swords at once, uniform rhythmic gymnastics takes place in the frame, exercises with a ribbon. Shining "blades" draw intricate patterns in the air - falling into their curls, enemies fall apart. Do not forget that each sword can choose a personal color. In theory, the color indicates some kind of unique opportunity, but - let's be honest - who cares about some kind of opportunity when you can swing a blue sword and a green one at the same time!

It's terrible what's going on

Paired with skillful swordsmanship, the new use of the Force looks great, which won us over at the London event. Activision. Since Marek became a Jedi at the end of the first part, he now has access to the classic Jedi ability - Mind Trick. Remember the famous scene in A New Hope where Obi-Wan Kenobi convinced the patrol to let the heroes through with a wave of his hand? Galen Marek does not deal with such trifles. If he waved his hand, then whole squads of enemy infantry would stand on his side. And if there is no one to fight with, they will commit suicide out of chagrin. In the build shown to us, the imperial stormtroopers with a running start, almost squealing with happiness, jumped like a fish into the abyss. Massively. Selflessly. Almost waving goodbye. In the case when there is not a single decent abyss nearby, the stormtroopers do not get lost, they look for red barrels, almost sit on them and happily blow themselves up. What will happen when the drugged enemy is left alone? Perhaps he will hit his head against the wall with a running start, we do not exclude such an option.

The stronger the Mind Trick is pumped, the more destructive its consequences. At the first stage, you can knock down only one fighter from the pantalik. More powerful forms of telepathy will allow you to turn entire armies of enemies to your side. The developers gave the following example. In a collision with two squads of attack aircraft, Marek drugged one squad, and then simply stepped aside - the fighters perfectly dealt with each other without his help. Finally, at the ultimate stage, a psychic attack will literally blow the mind of your enemies. First, the stormtrooper will convulsively squeeze his temples, trying to cope with the incoming Force, and then the unfortunate head will explode, causing serious damage to everyone standing nearby.

Don't keep to yourself

Not all editorial staff liked Marek's new skills - they say, the already spoiled setting turns into a comedy. Only in this case hyperbole is more than appropriate. Even as a baby, the hero could snatch the sword from the hands of Darth Vader. Now he is a true master of the dark side, and the developers are not going to artificially weaken him.

From the very beginning of the game, he is full of strength - or rather, Strength. This is such a bombardier beetle pumped up with turpentine, carrying an anthill to pieces. The power is overflowing. In the colossal Force Push, dozens of stormtroopers are carried into the abyss at once, another squad jumps into the abyss at their own will in a single impulse, and the most persistent rush at Starkiller and fall into the shining meat grinder of lightsabers. In this crazy disco, phrases like "I'm your father" are hard to come by, but we actually have a Dark Jedi here, literally off the chain, so sorry.

* * *

If the original TFU was expected as a successor to the great series Jedi Knight(See article on opposite page), then Part 2 is our last hope for getting rid of the plastic Ahsoka Tano and for the first Star Wars game with a really strong story since Knights of the Old Republic 2. And along with it, the opportunity to destroy a couple of planets, beat a giant rancor on steroids, look at the mental anguish of one of the strongest Jedi in history and, perhaps, fill the face of Master Yoda.

Will wait? Potentially one of the best games in the Star Wars universe. But even if it doesn't grow together, blowing the heads of Imperial stormtroopers and smashing the casino is always fun.

Readiness percentage: 50%

The wind shakes the stirrups,
Time drives the horse.
No matter how you climb the mountain
the whole road is not visible.
If you can't, don't take it
You can't, but fight
No cliff, no bump, nothing to avoid.
Svetlana Nikiforova

Independent work

Footsteps echoed through the corridors of the Jedi Temple. The sun was setting, the shadows from the pillars lay on the floor, creating a striped pattern. Sedge completely withdrew into himself, immersed in thought. She had just returned from a mission to Mandolore yesterday. The teacher flew away on a mission, leaving the girl in the Temple, according to him, "to cool down after completing a difficult mission and calmly think." As a result, she had a whole month of sitting at home. Unless, you can get out to the Senate, to Padma and Riyo Chuchi, friends of the Togruta. Yes, and even before he left, Master Skywalker gave the girl a whole lecture on "Ego and the Jedi." In this regard, the teacher always reminded her very much of Master Kenobi. "Master and student, what to do," the Padawan sighed then. Now Sedge was walking from the Archives, where she had spent the past few hours. At first, the Padawan thought that she would not learn anything interesting, but since she did not know what she could do, she nevertheless went to the Archive. Finding ancient legends in the holocron, the Togruta became interested in them. This faceted information crystal contained many scenes of lightsaber duels between the Jedi. The girl asked the Temple's archivist, Jedi Master Jocasta Nu, to lend her a holocron. Having received permission, Osoka went to her place. She couldn't wait to watch those fights. Maybe she'll learn a couple of new tricks? Finally, in her room, Sedge placed the holocron on a small table. After a little admiring the play of light on its faces, the girl lowered the curtains so that twilight reigned in the room. Sitting on the bed in the lotus position, the Togruta closed her eyes. Pushing all extraneous thoughts away, Sedge reached out in the Force towards the holocron. Power flowed through the girl, enveloping her. The Padawan held out her hand; the holocron rose from the table and slowly floated towards the Jedi. When the girl's palm was only a couple of centimeters away, Sedge stopped the holocron in place. A small wave of the hand up - the object soared a little higher, closer to the Togruta's face. The Padawan held out her hands so that the holocron was between them. Calling on the Force, Sedge began to spread her arms in different directions. Lines began to appear between the edges of the holocron, glowing with a bluish light. They grew wider and wider, a bluish light filling the room. Sedge put inside the crystal with information, while not losing concentration. After some time, the lower part of the holocron folded like a box, and the upper part opened like a flower, only the petals were square, made of glass. The girl opened her eyes. Touching the holocron, she called up the first recording. First, an inscription appeared, which read: "Forms of Ataru and Shien." The Togruta knew these two fighting styles very well, having used them herself. But still, she watched this duel with interest. The next inscription said: "Forms of Soresu and Shii-Cho". She had seen these fighting styles, even studied Shii-Cho before but didn't use it. The next few entries, Osoka could easily understand who would win, because she had watched similar fights more than once. When calling the next entry, Padawan Tano did not look at the name, distracted by her own thoughts. When she looked at the combat hologram, Sedge realized that she didn't know the name of the uniform used by one of the Jedi, who wielded not one, but two lightsabers. I recognize Shien's style, the Jedi thought, but I don't know the other one. It's similar to Ventress' fighting style. Returning to the beginning, she read: "The forms of Shien and Jar" Kai ". The girl looked through the following entries literally in one breath. Her attention was constantly riveted by the Jedi who fought with two lightsabers. She carefully followed his every movement, remembering her own fights with Asajj Ventress, a student of Count Dooku.Osoka soon found herself thinking that she was terribly eager to study Jar "Kai. "It would be really nice," she thought. The Padawan spent the rest of the night thinking, never falling asleep. Despite the sleepless night, in the morning Sedge felt a surge of vivacity and an incomprehensible anticipation of something. You may be familiar with such a state when you really want to do something, but have not yet begun to fulfill your plan. At such a time, you usually feel excitement and joy, you want to smile. Padawan Tano felt the same way as she headed back to the Archives. She wanted to give the holocron back to Master Jocasta, and at the same time collect more information about the lightsaber technique that attracted her. Entering the hall, where there were huge racks of information and tables with computers behind which this information was viewed, the Togruta first looked for Master Nu. The archivist was somewhere in the middle of the library, rearranging the data crystals. Sedge watched her a little, and then took a step forward and, bowing, said: - Greetings, Master Nu. The archivist turned around and, noticing the Togruta, smiled as she replied, "Greetings, padawan." Can i help you? - Yes, here, I wanted to give the holocron, which I took yesterday, - with these words, Sedge handed the holocron to Master Nu. She took it, slightly surprised, saying: - So quickly looked at everything? - Yes, the fights were very interesting... So much so that I even forgot about the time. - Well, I see, - the archivist smiled kindly, placing the holocron on one of the shelves. Padawan hesitated a little longer, and then asked: - Master, could you help me in finding information? - Of course, Osoka. What exactly do you need? - I would like to learn more about the Jar "Kai style. - Did you like it so much?" the archivist asked, starting to sort through the information crystals on the next shelf. - Well ... To be honest, yes, - the girl answered with a slight pause. both Osoka and Jocasta Nu were silent. The master continued to stand near the shelving, the togruta examined the pattern on the ceiling. The girl was already beginning to get tired of idleness when the archivist turned to her, holding out three chips with information: - Here, take it. Here is the history of the Jar "Kai style as well as basic techniques. - Thank you, master, - bowing, Sedge took the information chips and went to one of the free computers. "First, I'll read about history," the girl decided, inserting the first crystal into the desired opening. "So, let's start," the Togruta said to herself. "Jar" ​​Kai is a style of swordsmanship based on the use of two lightsabers. Created by the Yovshinsky swordsmen. A similar technique for using two lightsabers is known as Niman, created by the Royal Macheteros of the Kashi Mer Dynasty. So, okay, next ... Ah, here it is: the Jar "Kai style is named after the city of Atrasia, which was also the place where Jar" Kai dueling swords were created. These swords were used by the Yovshinsky swordsmen themselves and were designed specifically for this style. Both Niman and Jar "Kai" existed before the invention of the lightsaber, but they were quickly adapted to a new type of weapon. Ultimately, the word "Jar" ​​Kai led to the term "Jar" ​​Kai tactics, denoting the use of two swords in combat, no matter which style is used. That was the end of the brief history course, and Sedge changed the chips. "So, now - the advantages and disadvantages of the Jar"Kai style. Well, let's see. So: one of the advantages is strong attacks, as well as easier defense against multiple opponents, thanks to the presence of two blades. Yes, it's helpful. Also, two blades allow you to set more powerful blocks, soften crushing blows, or compensate for attacks from several blades. Despite the fact that Jar "Kai is a separate style, it is quite easy to adapt to other tactics. Disadvantages: two-handed strikes are not possible, the fighter is not able to use all the weight for the block, this weakens the defense. Also due to the gyroscopic effect inherent in lightsabers, two blades are harder to control. Hmm... Never mind, I'll learn." With these thoughts, Sedge took out the crystal. Having inserted the third chip, on which the techniques of the Jar "Kai style were described, she decided to take it with her. Having given the first two carriers of information to Master Jocasta and once again thanking her for her help, the girl went to her room. Having entered the room, Osoka lay down on the bed, put her hands under her head, and stared at the ceiling. She suddenly remembered how the lightsaber was stolen from her. And how then the Togruta searched for it with Master Teru Sainube. If only Osoka had two lightsabers then! Lost one, but the second one But you don't just have to have two blades, you need to be able to use them in combat. Otherwise, what's the point? Then Osoka remembered Riyo Chuchi's story, about when Ked Bane took the senators hostage. Then Anakin saved the senators, although According to the pantoranka, he did not have a sword. He lost the lightsaber that Senator Amidala found. But if Skywalker had two swords? It would probably be easier for him ... After thinking a little more in this vein, the girl decided. She will learn Jar "Kai ! Rushing out of bed and taking an information chip with a tablet capable of reading this chip, the Padawan went to the training room. Arriving at the hall, Sedge opened the data file. The first move she decided to try was called "Double Strike". To start with, the Togruta took two practice swords for herself, so even if she hit an arm or leg with a blade, there would only be a slight burn. "Let's start training!" - With these thoughts, the girl activated both swords. Immediately, a small ball "woke up" that flew around the practitioner and strove to hit him with lightning with a small electric charge. Padawan Tano blocked the first three charges, then tried to do a "Double Strike". Due to lack of practice, the attempt failed, the sword simply fell out of the Togruta's hand when swung. The second, third, fourth attempts were no better. On top of that, Sedge slapped an electric charge on her hand, which would have made few people happy. After another failure, the girl unexpectedly noticed that someone was watching her. She stopped the droid and turned towards the entrance. Two Jedi Masters stood in the doorway, watching the Padawan. And Osoka knew them well. They were Ayla Secura, whom the Togruta admired and wanted to be like, and the lightsaber instructor or swordsman, Cin Drallig. They smiled, clearly amused by the Togruta's attempts. Sedge bowed. She no longer thought that studying Jar "Kai was a good idea. "Master Plo Koon is calling you, Osoka," Ayla said. "Go to the information center." "Yes, of course," the Padawan returned the training swords to their place. “Not at all,” the Twi Lekka shrugged her shoulders and, turning around, left. The Togruta followed her out and greeted Cin Drallig. He nodded back at her, but said nothing. Sedge ran to the information center in record time. Plo Koon, noticing the togruta entering the hall, nodded to her. The girl, in turn, greeted everyone who was there, albeit through a holographic connection. An astrodroid was connected to the port, which showed the Jedi some plans. Suddenly the door opened and he rolled down the stairs, managing to fall from it, but at the same time jump up immediately, Ar-Two-Dee-Two. The masters and Sedge looked at him in surprise. The Padawan had a bad suspicion. At that moment, Ar-Two jumped up to the already ported astrodroid and pushed it away. He fell, but got back up and arranged a fight with Ar-Two for the port. - Stop it, stop it! Ar-Two! - Sedge ran up to the astromechs and separated them. "Do you know this droid, Padawan?" Master Plo Koon asked. "Yes, it's Ar-Two-Dee-Two, Master Skywalker's astrodroid!" - Sedge answered and turned to the astromech. - What happened, Ar-Two? The droid began to trill. "Ar-Two says he has a message from Master Skywalker, and it seems to be urgent!" - translated Padawan. Plo Koon asked Ar-Two to show the message. Astromech connected to the port, triggering a message from Sedge's teacher. It turned out that Master Windu and Skywalker were in trouble. More precisely, they are now under the wreckage of the ship on which the sabotage occurred, and cannot get out on their own, so when Ar-Two found Anakin, he sent him for help. A rescue operation was immediately organized, led by Plo Koon and Osoka. A shuttle with soldiers was sent along with them. When the ship was at the crash site, the Jedi used the Force to lift the destroyer, and the clones carried Master Windu and Master Skywalker onto the shuttle. The rescue mission was successful, the Jedi were taken to the Temple, to the doctors. The next day, a message was sent to Magister Windu from the mercenaries. They took three hostages who survived the sabotage. One of the mercenaries was a clone boy named Bobba. They wanted the korun to fight Bobba, with the notorious bounty hunter Aurra Sing killing the soldier, threatening that if Mace Windu did not show up, the other two, the admiral and the clone, would be killed. Korun was about to fly there, but Plo Koon noticed: - Your wounds have not healed yet, and your appearance will only tease the boy. I'll fly and take Padawan Tano with me. Osoka nodded in agreement. To begin with, the Jedi took a speeder to fly to the lower levels of Coruscant. Plo Koon recognized Orra Sing on the hologram, so he wanted to find out where she was. After four failures, they went to another diner, where the Jedi Master hoped to find out the information after all. He chided the Togruta for her lack of tact, told her to be more polite, to listen carefully, to trust more than her eyes. And then he headed for the door. When the master and Padawan entered, Plo Koon went to the bartender he knew. Sedge, on the other hand, tried to concentrate on the conversations of the people in the diner. She succeeded, although not the first time. After a while, she was able to pick out a conversation between two personalities: a Nautolan and a Weequay. The girl stood closer to their table to hear better. She turned her back on them and began to pretend that she was simply considering something, eavesdropping on their conversation. The Nautolan said: “He was on Florum. He talked about some valuable information on the holotransmitter, and then - bang! - she covered it. Apparently, the business was profitable. - And what was her name? I hope this is not what I think? - He worked for Aurra Sing. And she has a bad reputation. - Ah, I thought so. Former girlfriend of the boss. She's nothing but trouble... - Yes, she's the best. Then the Nautolan suddenly jumped up, grabbing Sedge, and the Weequay tauntingly asked: - Eavesdropping, baby? The Togruta jerked free of her hold, pushing the Nautolan away from her. Turning back, he pulled out a knife: - What's the matter? What are you sniffing out here? Knife and blaster muzzles stared at the girl. Plo Koon drew his sword, saying calmly, "Put down your weapon." Sedge backed away, standing next to the older Jedi. The Nautolanin said, "You can't handle everyone, Jedi!" - Do you want to check? Sedge activated the sword. They began to surround. Then the owner of the establishment declared with displeasure: - Hey, there will be no shooting in my bar today! "He's right," the Togruta grinned as she took some credits from her pocket. - At the expense of the institution! With these words, Padawan Tano threw money into the crowd. There was a hitch, just long enough for the Jedi to leave. Already on the street, Plo Koon said to the girl: - Not very polite. But I tried to be polite! - Sedge went for the senior Jedi. - And how did it all end? But master, you were right! I heard about the murder that Aurra Sing recently committed! Plo Koon turned to the girl, asking: - Where? "On Florum," the Padawan smiled. "Well done, young Sedge," Plo Koon praised the Togruta, and they set off back to the Temple to take the ship. During the jump, the girl’s thoughts were occupied with discussions about Jar "kai, she could not decide whether to learn this style. And upon arrival on the planet, the Jedi met a Weequay named Hondo Onaka. Osoka had already met him, and I must say, that the meeting was not particularly pleasing to the Padawan's memories.Onaka led the Jedi to Orra Sing, on the way saying that they were waiting and that he had no idea about the idea of ​​​​the mercenary.To Plo Koon's question: "Why did you warn us?" - the Weequay replied: - To you knew I had nothing to do with it." The older Jedi turned to Osoka and said, "And remember: patience." The Togruta nodded. The Jedi went to the bar where Hondo said they were waiting. Plo Koon headed for a table with Aurre Sing, The sedge hid around the corner. In any game, you can't show all the cards at once. The Jedi knew this law well enough to learn to follow it. "Wrong move, Jedi," the mercenary said as Master Plo sat down on a chair. "You will pay for it. Having emerged from the darkness, put Bob on l blaster to the head of the Jedi Master, saying angrily: - I was waiting for Windu. What are you doing here? “We can decide everything for bad or for good,” Plo Koon said calmly, however, he always spoke calmly and without raising his tone. - The choice is yours. Aurra Sing grinned and put her hand to her ear, apparently there was a comlink: - Bossk? Can you hear me? "I hear you," a hissing voice answered her. - Get ready to execute the hostages. "Unreasonable," the older Jedi said. - You've already lost without knowing it. - I'm ready to kill you, the hostages and anyone, so that Bobba gets his way! - answered the mercenary. “Hurry, so that you get your way,” Plo Koon said. At that moment, Sedge, drawing her sword and activating the blade, jumped out from around the corner. Moving quickly, she cut the antenna on Orre Sing's head with a single swing, and then put the sword to her throat. Fett shook his blaster, intending to fire, but the Togruta warned him, "Don't you dare!" - Let her go! - shouted the boy. "No way," Tano hissed. "She won't, Bobba," Orra said. - She's not like you. She's right, I'm not a killer. And I'm not a killer! Fett replied. But I want justice! "We are justice," Plo Koon said. "Don't listen to them..." "No one will get hurt if you come with us," the older Jedi continued. There was fear in Bobba's eyes for Orra, and the mercenary noticed it. I won't let them kill you! Fett shouted. “You won’t get it,” the mercenary replied, smiling at something. She winked at Fett. - Orra! the boy shouted, suddenly shooting towards Osoka. She repulsed the shot, but the mercenary managed to free herself and get to her feet, taking advantage of Tano's confusion. Plo Koon pushed Bobba to the floor, overturned the table just in time. Two small arrows flew into the wooden covering, which Sing fired from her boot. The mercenary drew her blasters and began firing at the Togrutu. The girl fought off the shots, but she did not have time to get up from the floor. To help the Padawan, the elder Jedi Forced a table between the rivals. When a shot hit him, he shattered into pieces. During this time, the Jedi Master knocked the blasters out of Aurra Sing's hands, and ordered, "It's all over." Give up. - Orra, come on! the boy shouted, throwing a strange disk at Plo Koon's feet. - Bomb! - Sedge recognized, and all three rushed in different directions. The bomb was quite strong, but no one was particularly injured. Sing ran to the exit: - Bobba, hurry! The boy went after the mercenary, but Plo Koon stopped him with the Force, pulling him to him. - Orra, help me! Sing turned around. Noticing that Sedge also got up, she, assessing the alignment of forces, ran away. The Padawan went after her. - Do not leave me! Not! - the boy extended his hand towards the fleeing mercenary. Plo Koon squatted down and turned Bobba towards him: - Hostages, where are they? Bobba, if you don't tell me where they are, people will die! Innocent people! Oblivious to the Jedi's questions, the boy stared at the floor, dumbfounded by Aurra Sing's betrayal. He said quietly: - She left me! At this time, Sing reached the site with speeder bikes. Pushing aside the Weequays who were there, she started. A second later, Sedge appeared there as well. One pirate from Hondo's gang wanted to shoot the Jedi, but was stopped by Onaka. The Padawan mounted the second speeder bike and began chasing the mercenary. A little later, Plo Koon came out, leading Bobba Fett. "He doesn't want to say where the hostages are," the Jedi turned to Onaka. - I think you can convince him. "Tell the Jedi what he wants, Bobba," the Weequay asked. Why should I help someone? - unexpectedly the boy said angrily. - Nobody will help me! Hondo got up and walked closer: - It would be a worthy deed. Your father would have approved. Fett dropped his eyes to the ground. He struggled with his feelings and memories of his father. Sedge almost caught up with the mercenary. Aurra tossed her bike from side to side, hoping to throw the Jedi off her tail. The Padawan drew her lightsaber. By making a turn, she hoped to stop Sing. As a result of the maneuver, the Togruta caught up with the mercenary and even slightly overtook her. But Orra threw her speeder in a way that hit Tano's transport. Hitting Sing's speeder bike, Osoka's speeder flew back, and the mercenary pulled ahead, gaining an advantage. The young Togruta had to put away her sword. Having tuned in to continue the chase, Osoka wanted to continue to pursue Sing. But then her comlink beeped. She turned it on. Master Plo Koon's voice was heard: - Sedge, Aurra is taking you away from the hostages. Fly to the point 1-5-7-9. At the turn, the Padawan and the mercenary flew in different directions. Orra glared at the Jedi in displeasure. After a few seconds, she also turned around. Sedge flew into the site just in time, the mercenary, with whom Sing had previously communicated, was already about to kill the hostages. She fired at him several times, and then, jumping off the speeder, freed the admiral and the clone. The admiral grabbed Bossk's gun, pointing it at the mercenary himself, warning: - Don't move. At that moment, Aurra Sing's speeder bike flew off the cliff. The mercenary directed him to another bike that was lying on the ground, and she jumped off in the other direction. The collision between the two speeders caused an explosion, knocking Osoka, the admiral, and the clone off their feet. Aurra quickly ran up the gangplank of the ship that was standing right there. The ship began to rise. The Padawan, quickly regaining her senses, jumped onto the wing of the ship, turning on her sword. Sing tried to throw off the young Jedi, but Sedge managed to hold on. With the help of the Force, she jumped higher, and then damaged the wing mount. The ship began to roll on its side. Leaping onto the windshield, Tano ran her sword through it. Orra tried to shoot the Togruta, but Osoka deflected all the shots again. She jumped to the ground, the glass shattered into pieces. The mercenary's ship zigzag from side to side, Aurra Sing desperately struggling to control but failing. The mercenary ship crashed to the ground. No one went to check if the mercenary was alive, she had too little chance of survival. When the Jedi with the rescued people and Bobba Fett flew back to Coruscant, the boy was sent to prison. Although he realized what he had done, his guilt was obvious to everyone, because it was he who brewed all this. A few days later, Osoka and Anakin were summoned to the Council. And they gave me a new job. The Padawan had just begun to rejoice at the next opportunity to leave the Temple, as the teacher... ruined all her plans. He ordered her to stay at the Jedi Temple and finish her studies. Sedge tried to persuade him to take her with him, but Skywalker was adamant. He flew away, leaving the young Jedi on Coruscant. The last words that he shouted to her were both a request and an order: - And don't ask for trouble! Sedge once again sighed heavily. She lay down on the bed in her room. "Something no desire to study Jar "Kai now ... Probably, it was not a very right decision ..." - the girl thought. Closing her eyes, she fell into a light sleep. She dreamed of a gloomy planet, the trees on which were completely bare , without leaves. Suddenly, someone grabbed her by the throat and lifted her up. The sedge twitched, but could not see the attacker. But a very familiar voice said: - She will die, and you will not be able to do anything! The sedge jumped out of bed. The dream was incomprehensible. And it was repeated not for the first time. The Padawan needed advice. She left the room and went along the corridors of the Temple to Master Yoda. Once near the door, she rang. Hearing the word "come in", Tano went into the room to the master. "Young Padawan," Yoda invited her. Sedge walked over and sat down on one of the chairs. "Does something bother you?" asked the senior master of the Jedi Council. "Yes, Master Yoda. I'm dreaming... dreams..." "Hmm." ..Are you talking about dreams? - Yes, dreams. Or visions, I don't know... But they are so real! Do your feelings tell you something? - Yes, I wrote one thing in the report... But it seems to me that Aurra Sing did not die. She is alive and preparing to kill someone close to her. “Here, you begin to evaluate the real power of the Force,” Master Yoda said seriously. We cannot underestimate them. Meditate. To see clearly, experience is needed. The Togruta nodded, thanking the magister for his help. And I went to the Archives to study. There was no one there besides her. Madame Jocasta brought her many chips with information, saying: - This will help you in your studies, dear. Sedge smiled gratefully, and when the archivist walked away, turned to the computer screen and, unhappily, through her teeth, said to herself: - Study. .. I would have to fight! And then ... Learn! She clicked the computer button, flipping through page after page, not really reading anything. She began to drift off to sleep. Soon, the young Jedi saw images: a hand preparing a rifle to fire, Sedge running somewhere, as if afraid of being late, a voice speaking to Aurra Sing, ordering the mercenary to kill someone, the face of Senator Amidala and a rifle aimed at her. .. Breathing heavily, the girl came to her senses. And then she understood everything: - Senator Amidala is in danger! Wasting no time, the Padawan went to her friend's apartment. She was greeted at the door by Captain Typho, in charge of Padmé Nabirrie's security. He escorted the Togruta to Amidala, warning her, "Senator, Padawan Tano has come to see you." - Sedge! - Padme joyfully ran up to the Jedi who entered and hugged her. - I'm glad to see you! What's up? - Honestly, it's been better. I'm worried about you, senator! I can smell you in danger! - Where did you get it? I'm having dreams, bad dreams! Padmé, I know you're in danger! I know, and that's it! - What threatens her? Captain Typho asked a question as he moved closer to Osoka. "A skilled bounty hunter is about to kill you!" - Togruta tried to convey the importance of what is happening to the senator. Padmé sighed. "Unpleasant." She looked at the guard who continued to stand there. - Captain, please take the necessary measures. He nodded and left. Amidala walked over to the suitcase. - Are you leaving? - asked the Jedi, starting to get more and more worried. - Yes, Bale and I are holding a conference on the rights of refugees. I fly to Alderaan in the morning. - Your life is in danger! - Osoka, the problem of refugees requires immediate action! I called this conference, there is a chance to turn the tide. I should be there. “Yes, Senator,” Sedge said. She understood that it would not be possible to dissuade Amidala Nabirrie, she would firmly stand her ground. The Togruta returned to her. Sitting on the floor in the lotus position, she closed her eyes and concentrated. Visions flickered before the girl again: a mercenary fixing a weapon, Padme seen through a scope... The Force showed nothing more, but that was quite enough. Coming again to Master Yoda, she told him: - Now I'm sure Senator Amidala is under attack. - Senator Amidala, you say? - Yes, Master. I saw it. - You must choose how to react to visions. But remember: the future is always in motion. And there are many different ways. - Yes, master. The next morning Sedge hurried to the landing platform. She barely made it; Senator Amidala was about to go up the gangplank. As they ran, the Togruta called out, “Senator! - Sedge? - Padme looked at the girl in surprise. - What is it? “I can't stand by knowing that your life is in danger. Let me fly with you! Please! "I don't think there will be any harm," the senator said after a moment's thought. "Besides, your company is dear to me," Padme put her hand on the Padawan's shoulder. - Of course, join as... additional security! the senator said, and the girls turned to Captain Typho as if they were waiting for him to object. But the captain only smiled slightly and silently nodded. Everyone boarded the ship, which took off and headed for Alderaan. For some time during the flight, Osoka sat alone in the cabin that had been assigned to her. She caught herself thinking that she was thinking about Jar "Kai again. The Togruta again felt the desire to learn it, but ... After all, she had already decided that she would not! She did not need it! Especially now, when the senator was in danger. Then thought about the teacher, it began to seem to her that he considered her small ... Then she began to doubt whether she could cope with the protection of the senator ... To get unnecessary thoughts out of her head, the girl went to Padme's rest cabin. The senator suggested that Osoka play " dejarik." After another loss, Sedge pressed her knees to her, and resting her head on them, looked thoughtfully at the field. - You'll still learn, Sedge, - Padme said encouragingly. - Someday you will beat me. not in this. - But in what? - I'm not very confident in my abilities ... Usually the teacher insures me. - When I was queen, I was tormented by the same doubts, - said Padmé, stroking the sedge on the head, like a mother .- I had advisors, but... Naboo should have run the entire system la me. And sometimes it was scary. The Togruta looked at her friend in disbelief. "Really?" Did you doubt yourself? - Oh, yes, but... I've learned to trust myself, and so will you. - Thank you, - Osoka said, and then smiled mischievously, suggesting: - Another game? "Of course," Padme replied. She was glad that she could cheer up Osoka. When it got late, Coruscant time, Senator Amidala went to bed. The Padawan also retired to her quarters. She did not fall asleep right away, but when the dream nevertheless overcame her ... visions began. Again someone adjusted the rifle, then a togruta running along the corridor, a senator lying on the floor ... Then no pictures, only a voice saying: - It has begun. Opening her eyes, Sedge saw Aurra Sing in front of her. Staring at her in horror, the Jedi began to rise and... woke up. - Padme! The Togruta immediately rushed out of the room and rushed to her friend. She shouted to the guard: - The killer is inside! - and ran to the senator. Jumping onto the bed, she pulled out and activated her sword. - Sedge? - the awakened senator asked in surprise. She never expected to see a Togruta in her cabin in the middle of the night, and even with a weapon in their hands. - Lie down! Padawan Tano said a little nervously. She looked around, trying to figure out where the killer would come from. - What's happening? asked Captain Typho, who had run up to the noise. "Nothing," the girl lowered her sword. - False alarm. Excuse me, senator, - saying this, the Jedi left the room. It was cold at heart. "I feel like I'm paranoid," thought Sedge as she went to bed. The rest of the night passed without incident. The next day the ship landed on Alderaan. Amidala and the rest of her companions were greeted and escorted to their rooms. Soon the senator went to communicate with some people, and Osoka sat opposite the door, deciding to meditate, as her teacher Yoda advised her. This time the pictures were clearer: the mercenary crawling somewhere, the audience applauding Padma, a blaster discharge coming from somewhere, hitting the senator, everyone was alarmed. The vision is over. Sedge rose to her feet, nodded to Captain Typho, and together they entered the senators' room. Sedge turned to her friend: - Senator, can I have a few words with you? "Of course, Padawan Tano," Padmé said with a slight hesitation, then turned to the other two senators, "I'm sorry." Then she went to Osoka. The Padawan spoke, "I made a mistake last night, but that doesn't remove the threat to your life." “I have not lost faith in you,” Amidala smiled. - I am very grateful to you, senator. - I would not like to interfere, - the captain spoke, - but it was painfully at the wrong time. The Senator needs to get ready. - But I'm more than sure that the assassination will happen tonight! - Why did you decide so? Padme was surprised. - There was another vision. More clear. I looked at more than usual. You were in the hall and made a speech at the time of the assassination. - Can you recognize this room? Captain Typho asked. - Yes I can. They entered a large hall, and, yes, the same one. - Yes, that's him. This is where it all happened,” the Padawan confirmed. Where is the killer hiding? - asked the head of security. - There is no clarity with this. "We've taken every precaution, haven't we, Captain?" - Yes sir. - But Aurra Sing knows all your plans, she will find a loophole. “Sedge,” Padme stepped closer to the Togruta, “in your vision, Orra succeeded. ..? "I can't tell," the girl shook her head. "Well, it makes sense to fight," the Togruta's friend tried to smile. The senator left to prepare for her speech to the public. The sedge could not find a place for itself. She was worried. Just before the start, the girl went into Amidala's room, and saw her standing on the balcony and admiring the landscape. Noticing Osoka, Padme asked: - It's beautiful, isn't it? - Yes, but I have to ask you to go back inside. It's not safe here. “Sedge,” Padme shook her head, “you can’t pause life. Don't forget, the Jedi are my friends, and I'm familiar with the danger. Noticing that the Padawan turned towards the scene of nature with a sad expression, the senator asked: - What is it? - I'm confused. Visions are one. In reality, it’s completely different! I don’t understand what to listen to. What if I'm wrong and no one is planning a murder? The senator didn't answer. She didn't know what to say. In the meantime, it was time for the conference. The meeting has begun. Bail Organa spoke first. He introduced Senator Amidala to the public. Then it was Padme's turn. Sedge couldn't help feeling uneasy. Although there were plenty of guards, the feeling of fear did not leave the Padawan. Unable to withstand the tension and obeying the will of the Force, she ran away from the hall. She ran out into a small corridor that was visible from the conference room, but lined with metal bars. It was there that she saw Aurra Sing. The mercenary was preparing to fire. Stretching out her hand, she applied a push of the Force. Sing fell, but managed to shoot. Noticing the Jedi, she began firing her blaster. Sedge dodged the charges with ease. The mercenary ran away. Drawing her sword, the Togruta ran after her. But Orra Sing managed to escape. Realizing that the pursuit was pointless, the Padawan returned to Padma's room. Still, the senator was lucky. The shot grazed her shoulder. Nothing fatal. Sedge and Bail Organa tried to persuade Padmé to return to Coruscant, but Padmé remarked, "He who wishes me dead will follow me anywhere." And then it dawned on Osoka. Padme doesn't have to be there herself! "Wait, there seems to be a way to save your life and let you speak," the Padawan said. A few minutes later, security entered the conference room with a cloaked figure moving in the center. The captain and the Jedi followed right behind the bodyguards, only the senator herself remained in the room. Instead, a droidess was dressed in a cloak, who reproduced Padmé's speech. The senator herself was sitting in the room and was supposed to make a speech over the comlink. After a storm of applause, the meeting continued. But Sedge again did not find peace. The mercenary was not in the hall, and it seems that she was not going to go back to the old place. Sedge approached the captain and whispered, “Aurra is not here. - How is it not? the captain was surprised. The Jedi felt that the threat was getting closer and closer to Padma. She left the room. A little later, the captain and guards ran out after her. Sedge ran into Padma's room, turning on her sword, and jumped back the shot. Using the Force to pull the hatch covering the ventilation passage, she threw the mercenary to the floor. She quickly got to her feet. Looking at Osoka, the mercenary said angrily: - You! I remember you, Jedi spawn! - with these words, she fired at the door control panel, and it slammed right in front of the captain's nose. - Get back, killer! - Sedge hissed. - She left me to die! Luckily, Hondo found me! - Something you quickly came to your senses! “Well, a girl needs to live on something,” Aurra Sing said mockingly. Sedge and Padmé moved closer to the wall until they ran into it. - Why do you need it? the senator asked. - My death will not stop the process of fitting. - Ha-ha-ha, darling, your politics have nothing to do with it. Plain revenge! My client wants to get even. Everything is simple! At this time, Padmé quietly took out a small blaster from her bosom. - Who is the customer? asked the Togruta. - Stop talking, - the mercenary took out two blasters, pointing them at the Jedi and the senator. - It's time to test you, baby! And she started shooting. Osoka deflected several shots with her sword, but one still grazed her hand. With a cry, the Padawan fell. Orra laughed. But at that moment, Senator Amidala already pointed her blaster at the mercenary. Sing managed only to be surprised and scream: - What? Not! Padme fired. The blue round projectile hit the mercenary in the chest and threw her against the wall. She lost consciousness. - Sedge! The senator sat down next to the Togruta. - Great shot! - the girl smiled. - I told. I'm not used to it! At that moment, the doors swung open, the captain and the guards managed to open them. Everything is over. Aurra Sing was arrested. Back on Coruscant, Sedge again turned to the visions to find out the name of the customer. Padmé recognized Ziro Hatta from the descriptions of the Togruta. The Padawan and Anakin Skywalker tricked the Hutt into confessing. Two days later, Anakin flew away again. Annoyed that the master left her in the Temple again, Sedge simply wandered through the corridors. Her legs themselves led her to the training room. The Padawan sighed. She forgot about Jar'Kai. And somehow I didn’t really want to. The Togruta walked to the center of the hall and stopped where she was. She stared at the practice swords and thought. It is not known exactly how long she stood like that, but Osoka came to her senses when a very familiar voice mockingly said behind her: - So are you going to train, or not? Sedge turned and looked towards the entrance. A smile blossomed on her face, "Master Secura!" Twi "lekka approached the Padawan: - So what? - I don't even know ... You saw what happened last time!" You wanted to learn Jar "Kai, am I right? - Yes... But... I'm not sure anymore... - You know, Master Obi-Wan and my former teacher, Quinlan Vos, recently returned from a mission. So, Master Vos told me how Master Kenobi managed to use Jar "Kai against the bounty hunter. He said that it was this that saved him. - Really ?! - sparks of interest sparkled in the eyes of the young Padawan. Would you like to learn a new style?" Ayla smiled mischievously. "No! I mean... I mean... Why not try?" on your feet. - BUT? - What's "a"? Already changed your mind? - No, but... I didn't even take the instructions... How did I...? - I will teach you! - You? - Sedge, looked at Master Secura with surprise. - You? Master, do you know Jar "Kai ?! - Yes, sometimes I use it. True, I don’t really like to fight with two swords. Well, will you learn? They are an example. And she wanted to be like them. But when Ayla offered to train her... All Osoka's doubts disappeared by themselves, only desire and determination remained. The Togruta smiled broadly and took two training swords. "So, let's start with the basics. .. For three whole weeks, Ayla Secura trained Osoka to teach her swordsmanship with two swords.They practiced two or even three times a day for several hours.By the end of the week, Padawan Tano learned to control two lightsabers so that they did not fall out of her hands when moving. She knew the basic techniques of the Jar "Kai style and could apply them. - And you learn quickly, - Ayla once noticed, seeing Osoka's progress. Thank you, Master Secura. All thanks to you, - the girl answered, very flattered by the praise. Sedge remembered very well how she once argued with the Twi "Lekka about clothes. It was Master Secura who was the culprit for the fact that the girl stopped wearing the standard Jedi clothes. Ayla reasoned that trousers were more comfortable to wear than Jedi robes, and the Padawan, then a youngling, remarked that she liked skirts better, informing the Twi'lek about this. She laughed and asked the question: "Why don't you wear it then?" The Togruta hesitated not knowing what to say. She hadn't thought about it before. A year later, Ayla helped Osoka get a top and skirt, similar to the ones she still wears. A week later, Ayla announced that she had to fly on a mission. To keep going training, she asked Qing Drallig to train with Osoka. After Master Secura's departure, the togruta studied with the swordsman for another week and a half. The master taught the girl complex techniques such as "Double Strike". He was very strict and demanding. But this did not bother anyone, because Qin Drallig taught Osoka not only to master the Jar "Kai style, but also showed her several ways to protect against him with both two and one sword. Of course, a month and three days is not enough to become a master in any technique, but it is enough to learn how to use it at a basic level. The Togruta loved this style very much. She decided to make herself a second lightsaber. When the girl told Master Yoda about this, he agreed: - You can make a second lightsaber. - Thank you, master. So I can fly to Ilum? - To Ilum? No, you won't fly there, young Padawan. - But... How could it be otherwise, master? - Osoka was confused. I need a crystal! - You will fly to Velmor. You can find the crystal there. - Velmore? Planet of the swordsmen? - Yes. - Are there any crystals? You can find them in the caves. - Thank you, Master! When can I fly? - Whenever you want. - Well, then... Right now! - Sedge instantly appeared at the door. “You need to pack your things,” said the master. - Yes, I have blanks for the sword! And don't forget other things. What are you talking about, Master? - did not understand the girl. - Which things? "Warm," Yoda said, smiling. - Coat, for example, hmm? - What for? “It gets cold in the caves, young Padawan. - O! Thank you master! - Togruta bowed and ran into the room to collect warm clothes. Quickly stuffing her coat into her bag in the same place as the parts for the sword, Osoka changed her red clothes for a dark brown dress, boots and gloves of the same color, and her leggings turned gray. Around the neck of the Togruta she put on a small necklace - a thin golden circle with a rhombus in the middle - a gift from Senator Chuchi. These were the last preparations. Having found out the coordinates of Velmor in the library, the girl took a small single-seat ship and set off. Not close. It took one day to fly in hyperspace to the planet the Padawan needed. To pass the time, Sedge decided to meditate. Closing her eyes, the Togruta fell into a light sleep. She dreamed of a beautiful planet with numerous forests, beautiful mountains, and cities that looked quite modern. Then the girl was transported to one of the streets of the city. To her surprise, she noticed nearby people, lined up next to each other, who repeated the movements of the main person. Suddenly, the picture changed: now the Togruta was walking through the cave. She noticed a greenish light and walked towards it. But... Then the young Padawan was pulled out of his sleep. "What?" she thought. The button blinking on the display indicated the time of exit from hyperspace. "The time has come?" - the girl was surprised. She seemed to have just fallen asleep. Pulling the controls and pressing the appropriate buttons on the display, Sedge brought her ship out of hyperspace. The blue rays became stars again. The green-blue ball of the planet hung right in front of the girl's eyes. As soon as the Jedi left the ship, she was met by one of the locals. Judging by the clothes of this young man, it could be said that he belonged to the swordsmen. The boy approached the togruta. The girl said hello. The answer was: - Follow me, Jedi Osoka Tano. The Padawan was very surprised, it seems to be the first time on Velmore and she doesn’t know anyone: - Um, sorry, but how do you know my name? - Master Yoda informed the headman about your arrival and asked to help you. Why are you here, we also know. - And where shall we go? - I'll take you to the cave, inside which you will find a crystal. - Well thank you. What is your name? - Sattar Kendor. You can only address by name. - Are you a warrior? - Yes. Sedge asked Sattar about the inhabitants of the planet. From his story, she learned that although Velmore teaches swordsmanship to children from wealthy families, the swordsmen themselves do not belong to the nobility. "Like sesk "Obirri Ryloth," the girl scolded, remembering Master Secura's stories about her planet. The Togruta noticed that Velmor was the same planet from her dream. Did the Force want to warn her about something? Although, there didn't seem to be anything wrong with the vision.... It felt cold from the cave. The girl cringed. - Do you have something to wear? Sattar asked. "Yes," the Togruta replied, taking her coat out of her bag and putting it on. - Well, thanks for showing up! Bye! - I'll wait here. - Why? "You'll find out if you find the crystal." Sedge shrugged her shoulders and, turning away from the warrior, went into the cave. It was usually dark in places like this, but here... An unusual bluish color emanated from the walls. It was quite cold around, despite the fact that the cave was not even on the top of the mountain, but outside it the warm sun shone with might and main. About half an hour later Sedge saw an underground lake. The water in it was not transparent, like everywhere else, but pure white, like milk. A river flowed from the lake deep into the cave. Padawan Tano walked on, stepping carefully, very quietly, as if afraid to wake someone up. There was something majestic in this place, the Force was unusually clear and clearly visible here, it penetrated through like cold, but nevertheless, the Dark Side was not felt in the cave. Strange place, thought the Togruta, moving further and further into the depths. How much time had passed since the moment she entered the cave, the girl herself did not know. Then the Togruta saw a pale green light, brighter and brighter as it got closer. "Just like in a dream," Sedge said to herself. She felt that the crystal she needed should be there. Suddenly her gaze fell on one of the stalagmites. It was visible stone, lying right on the surface! Sedge reached out and touched it with her fingertips. The crystal... radiated warmth! This was so unexpected that the Togruta at first withdrew her hand. However, she found what she was looking for. So without wasting time, the Padawan pulled the stone from the stalagmite. He easily succumbed, the girl did not even need to make an effort, as if the crystal was waiting for the moment when it was taken out! Without moving, Sedge took off her bag from her shoulder, taking parts for her lightsaber out of it. Stretching her hands forward, the girl called on the Force. She imagined the parts of the sword coming together... Soon a new sword lay in her palms, slightly smaller than the previous one. The light green blade was also a little shorter, respectively, but is that a problem? Of course not! Most importantly, here it is, the sword! Half an hour later Sedge came out of the cave. Taking off her coat, the Padawan put it back in her bag, and fastened the new sword to her belt, where the old one already hung. She thought that Sattar had left after all, because why would he wait for the togruta? What was the surprise of the girl when she noticed a warrior sitting on a stone near the entrance to the cave! Apparently, he dozed off. Approaching him, she asked: - But still, why did I have to wait? "Did you find what you were looking for, Jedi?" - Kendor answered the question with a question. Sedge patted her waist. - Excellent. Come after me. - Where? - You know. - But... - Jedi don't seem to ask that many questions, or am I wrong? the warrior asked, barely giving the Togruta a glance. And, not paying attention to the stunned girl, he went towards the city. The Padawan decided that since she was a Jedi, she had to be patient, although she really wanted to hit Sattar as hard as possible. No, well, he really scoffed! Is it so hard to answer? The warrior led Osoka to one of the houses on the main street of the city. He opened the door and gestured for the Togruta to enter first. As soon as the Jedi stepped over the threshold, he followed her, closing the door. The Padawan looked around. The girl found herself in a large, dark, wide hall, along the perimeter of which there were columns, the second floor was occupied by a balcony, and the windows were nowhere to be seen. It looks like a fighting arena, Sedge thought, standing in the very center. Sattar disappeared into one of the passages between the columns. Suddenly, a light came on. People appeared on the balconies. Under the central arch, on the lower floor, stood an old man, next to whom was Sattar. And from every passage between the columns, a swordsman appeared. All the soldiers stood with weapons in their hands. They were all dressed in the same way, in loose brown robes reminiscent of the Jedi, only with various patterns on the sleeves and boots, some wore small low hats. Of the weapons - only energy swords, in beautiful scabbards. The handles had the shape of a cylinder with a massive pommel. "What hutt?!" thought the Jedi. Based on what the girl read in the library, the art of swordsmanship was preserved on Velmore purely theatrical and ritual. Only there were too many swordsmen. Osoka tensed. If the warriors attack all at once, then she will not come out of here alive. Without thinking twice, the Togruta drew her swords, standing up. She hadn't activated the blades yet, although she really wanted to. "Calm down, Padawan Tano," the old man spoke. - Nobody is going to kill you. - Who are you, exactly? - the girl asked, not even intending to lower her weapon, but only clutching her swords more tightly. “Headman,” the old man introduced himself, smiling. Why are there so many warriors here? “Master Yoda promised that you would have several duels with our swordsmen. We would like to see your skills. “Ugh…” the girl breathed out, putting her swords back in place and standing up straight. - Good. I don't mind. - Then we will start right now, - the headman raised his right hand, the palm is clenched into a fist. One of the warriors went to the Togruta. The Jedi noticed that all the warriors were exclusively male. Maybe the girls were trained, but apparently separately. And fights for them were also arranged separately. "This is your opponent, Jedi Osoka," the old man continued without dropping his hands. You will fight with your own weapon, they will not give you another. Don't worry, the lightsaber won't cut ours. There is only one rule: the fight must be fair. No others. It's all. Questions? “Yes, one,” the girl replied. - How many fights will there be? “I will decide that,” the headman smiled. "Well, at least honestly," Osoka sighed to herself. She bowed to the enemy, expressing her respect, the warrior answered her in the same way. The headman opened his hand and lowered his hand. The swordsman immediately drew his weapon. The fight has begun. The man attacked first, apparently not considering the Togruta a serious opponent. From the first two blows from above, Sedge dodged, the third - blocked with a sword, then abruptly threw her hands up, pushing the swordsman's weapon away from her. But she did not seize the initiative, stopping in place, putting her blades in front of her. The warrior looked at the girl a little surprised. He attacked again, holding out his sword arm so that the point was pointing straight at Osoka. As soon as the tip of the metal sword almost touched the Padawan, she suddenly dived down, making a sweep from below. The swordsman fell to the floor, his weapon flying to the side. The Togruta stood over him, swords at the warrior's throat. He smiled at something. He touched the rag on his shoulder. Then he clenched his hand into a fist and lowered it to the floor, so that his palm was next to the girl's leg. Thinking that everything was over, the Padawan turned off her swords, but in vain. Suddenly, she felt something dig into her leg, just above the knee. The girl pulled it out of her skin and held it up to her eyes. There was no wound, just unpleasant. "Needle?" the Togruta wondered, looking at the object. She relaxed slightly from the easy victory and let her guard down. At that moment, the warrior, taking advantage of the confusion of the enemy, pushed the Padawan with all his might. Swords flew out of Osoka's hands, she fell to the floor, face down. The warrior approached her, but not close enough to attack at once: - That's all. The Togruta reached for her weapon with the Force. - No, - the girl answered, as soon as the weapon obediently lay in her palm. The swordsman remembered who he was dealing with too late. The Togruta was already on her feet, activating her blades. Rushing into the attack, she lowered a hail of blows at the enemy, knocking out of his hands the weapon that he managed to pick up earlier. The warrior was left without a sword, and Osoka did not let him use the trick with needles a second time. "Victory is for Padawan Tano," the headman said. - Everything? - asked Osoka. - Not. You have proven that you can handle one opponent. And with two? The swordsman left, his place was taken by two others, one of whom was already familiar to the Padawan. Sattar Kendor. Both warriors drew their swords. The sedge took a fighting stance. The headman announced the start of the battle. The swordsmen attacked together, in unison. From two sides, swords began to fall on the girl's head. Sedge blocked them with her blades. Then, taking half a step back, she began to quickly rotate them, creating a green shield around herself. Then the warriors, standing nearby, began to push the Padawan to one of the passages between the columns. The girl tried to attack, but as soon as she removed the protection, a hail of blows rained down on her. The Togruta had to retreat, blocking blow after blow. A little more and Sedge was very close to the passage. She tried to change her path, but it didn't work. When the girl stood between the columns, the opponents suddenly stopped attacking. They stopped as if they were waiting for something. Tano swung, and at that moment Sattar struck the sword in her left hand. A recoil passed through Osoka's hand, the Padawan released the sword from her hand in pain, and he hit the pillar with all his might. The blow was so strong that the sword broke into pieces, which immediately rolled across the floor. - Oh no! - whispered Osoka. The second swordsman, without noticing, stepped on the focusing lens, it cracked. Now the sword could only be restored in the Temple. The warriors turned away from the Togruta and walked towards the headman. - Stand!!! Everyone looked at the girl. The swordsmen slowly turned around. The Padawan pointed her sword at them without moving, shouting, "I haven't lost yet!" "Don't be stupid," Sattar said. "What can you do with one sword against both of us?" “Believe me, I’m not in the first one,” Sedge answered calmly. As long as I can, I will fight! The warriors turned to the headman, waiting for instructions from him. "Keep fighting," the old man nodded. The swordsmen turned back to the Jedi, only she was no longer there. Then Sattar was pushed from behind, he fell to the floor. The second swordsman instantly reacted, turning and striking with his sword. If only he knew exactly where Osoka was standing... And so, the blow missed him. Tano blocked the warrior's next attack, then began to attack. The swordsman retreated. At this time, Kendor rose. He joined his friend. Together they were able to force Osoka to stop, but the Togruta was not going to retreat a second time. The girl jumped up, aiming her sword at Sattar's head, and pushing the second warrior away with her foot. Kendor blocked the Padawan's thrust. His friend did not fall, but only retreated a couple of steps, apparently, the Jedi did not quite correctly calculate her strength, so although she hit the second swordsman, she did not hit hard enough to take him out of the game. Doing a somersault back, Sedge, breathing heavily, stood in front of the warriors, holding out the weapon in front of her. - Well, that's enough! The elder clapped his hands. The swordsmen put away their weapons and bowed to Osoka, thanking her for the duel. The Togruta also bowed. "You've done well, Padawan Tano," the old man said. “Thank you,” the girl replied. She squatted down and began to collect parts from the sword. The lens is really broken, can't be fixed. Putting the parts in a bag, Osoka went to the exit. - Are you flying away? - asked the headman, approaching the Togruta in the street. “Yes, it’s time for me,” the girl replied. - Well, then, - the old man turned to Sattar, who was standing behind him, and took a small bundle from him, - here is a gift for you, young Jedi. Sedge accepted the gift and, having thanked, asked: - What is it? - A shard shard might be useful to you. Do you know them, padawan? - Iron Knight? Yes I heard. But where? - Oh, got it from a friend. Crystals also sometimes die. It was worthy, he made many flights in space, but ... It doesn't matter. I don't need it, but you probably will. But you can guess it yourself, if you guess, - the headman smiled slyly. - And one more thing, I wanted to know... Show me the crystal you found in the cave! “Here,” Sedge handed the headman a stone. - Why would you? - Wow... - the headman said to himself, - velmorit is greenish in color... You have an unusual stone, girl. I think that the sword will also have some ... hmm ... non-standard properties. But you will find out about them yourself, - the old man returned the stone to the Togruta. -Goodbye! - Thank you for everything, - said the girl, and then went up the ladder. - Goodbye! she called out before closing it. Already in hyperspace, Sedge unfolded the bundle to look at the stone. Opening the gift, she gasped. The shard shard was beautiful, transparent, it collected light on itself... It did! The lens had the same property... The girl decided to polish the crystal so that it would fit in the place of the lens, fortunately, there were tools. She took them to the Temple just in case, and this case has come. For some time the Togruta was immersed in work. Then, taking out the parts of the sword, Sedge called on the Force again and connected everything together. The shard fit perfectly into the place of the lens. Since the cockpit allowed turning on the weapon, the girl activated the sword. The color of the blade changed a little, became light green, but still... The sword was made! Then the ship shook slightly, apparently, flew into a zone of turbulence, in hyperspace this sometimes happens. Sedge almost dropped her sword, but managed to catch it. By chance, she touched the blade with her fingers ... Quickly withdrawing her hand, she examined it, but did not find a burn, not even a small wound. "Huh?! But, before, he was able to stop another blade, but now it's like out of thin air?" - the girl was surprised, looking at her hand incomprehensibly. Then the words of the headman came to her mind: "You can use the new sword without fear." So that's it! The girl laughed. Turning off the sword, Sedge looked out the porthole. Very soon, she will fly back to the Temple. And from there again into battle ... Or to the Senate, to Padma, to tell her about everything. Who knows what the future holds for us?

I love long impressive fights. The first time I realized this was when I was still engaged in historical fencing. Perhaps this love was born from a feeling of delight that arose in me from childhood when watching a myriad of Hong Kong action movies. J For me, as for a spectator and as a participant, it is often much more important not the result of the fight (be it a sports competition or a demonstration performance), but the fight itself, as a way of communication and comprehension. And it is not necessary for opponents to be armed with some pseudo-life-threatening objects: competition at the pool table can be no less attractive - they do not have to be masters of their craft either: sometimes the thirst for beauty that moves a person from the inside turns out to be strong enough to compete with the elegance of the master's honed movements.
After the release of the second Episode, I found Star Wars for myself and was amazed at the masterful finesse with which the battles were built in the Saga. This, in many ways, determined my interest in Star Wars for a long time. I set myself the task of developing a way to conduct such long and beautiful duels with a live opponent, without emphasizing the setting. The task seemed unsolvable: one thing is a long staged fight, and quite another is a long real fight for a “victory”. However, practice has once again shown that only the presence of desire is needed to achieve a seemingly unrealistic goal.
The mastery of a beautiful fight, like any other mastery in the art, can be achieved both through a trained predisposition and through hard work on oneself. In any case, the skill is not born out of nothing and requires a certain amount of training, certain skills and concepts explained by someone, which will help in the future to develop independently within the framework of your favorite system. I want to dedicate this tutorial just to tell and show everything I know about saber duels, lightsaber models, and reenactment of duels in the spirit and style of Star Wars. Much of this tutorial material is based on my two previous articles, on the lightsaber and swordsmanship reconstruction, so people familiar with these materials will see a lot of quotes from there. But besides this, accompanying videos and illustrations have been added to the tutorial to help you understand the difficult art of subfighting. Enjoy reading!

Chapter 1

Sources.

Unfortunately, none of the films in the Saga (neither the Original Trilogy nor the Prequel Trilogy) provide full explanations regarding lightsaber fencing, so the main data that can be used is the result of analyzing the movements of the characters in battle while watching the films in slow motion . Based on this analysis, as well as on the basis of various additional information accompanying the film (such as: official encyclopedias), a common basis was developed, from which I later started when developing the subfight.
In addition, when developing the subfight, I tried to draw as much official information as possible from various interviews with Nick Gillard, the director of action scenes in the entire Prequel Trilogy. For example, in an interview, he stated that there are no "Forms" in lightsaber fencing (which contradicts the data from the Expanded Universe). Gillard also said that the lightsaber technique was developed by him on an alloy of all known combat systems (various strikes, blocks and stances were drawn from them) and even took a little from tennis (apparently, techniques for the correct “beating off” were borrowed from there » blaster shots back). In addition, Nick said that lightsaber swordplay was very much influenced by the characteristics of the fighting actors, not all of which, mind you, are professional swordsmen. In some cases, Gillard allowed the actors (and even forced them) to do what was convenient for them, and not what was supposed to be right. And this, of course, could not but affect the final result. And we adopt all this experience with gratitude.
The source of various additional (more or less curious, but not central) data for this textbook was the Expanded Universe (hereinafter referred to as RV), which, in particular, contains systematized information on the Forms of lightsaber wielding. The main resource was Bob Vitas' Totally Unofficial Encyclopedia, which deserves to be one of the most trusted sources of information on Star Wars (hereinafter referred to as SR) issues.
With RV, unfortunately, everything is not so simple, so I use it only as an auxiliary, general educational material. If you want to weave it into your subfight (for example, to determine which of the participants should follow which Form), use it to your health. If you don’t want to, don’t: the subfight, as practice has shown, does not suffer from this at all. Most of the VR data is often concocted by various authors and hastily sanctioned by Lucas' companies, so the VR data has more than once been in conflict with the films and in conflict with each other. In particular, in order to avoid these contradictions as much as possible and not to present these additional materials as a complete mess, I completely ignore the information on Star Wars gleaned from computer games (the KotOR series, for example).

Lightsaber device.

If you want to know as much information about the lightsaber as possible, then I recommend checking out my lightsaber article in Star Wars. There you will find detailed information on the history, and just a lot of interesting facts related to lightsabers. What will be given here is a revised and supplemented passage based on new information, in which I consider only the lightsaber device itself. This knowledge, of course, is necessary for further reconstruction.
So, the lightsaber arose on the basis of the technology of the so-called "frozen blaster beam". Note that the word "ray" is used here and in what follows in a geometric, and not in a physical sense, and is synonymous with the word "segment", and not the phrase "clot of light". In the physical sense, a blaster beam is not a beam, because is made of charged matter, not light at all.
Once upon a time (long before the events of the films), the first models of lightsabers were considered more like siege weapons, because. the size of the handle and the energy pack behind his back simply did not allow him to work with such a weapon at least somewhat quickly. But progress did not stand still, and rather quickly the Jedi managed to seriously reduce the size of the handle and solve the problem with the power source. They were helped to achieve this result by the invention of a new type of energy carrier, a diatium battery, which, with standard sizes, is capable of delivering ten times the power of a conventional blaster beam (but its cost, accordingly, is significantly higher than that of standard batteries used, for example, in blasters) . There is an opinion among fans (and even among some RV materials) that a diathium battery (and possibly all other batteries in SG) can somehow store plasma in a working state, but from the point of view of our technological level, this is impossible. Be that as it may, diatium technology removed the main problem: the presence of an inconvenient external power supply and cable. It was from this moment that the history of the weapon that we know as the "lightsaber" began.
Over the next several thousand years, the technology for making lightsabers did not actually change, at least about specific general changes, and not minor personal adjustments, history is silent. In order to create a lightsaber, the following components are required:

• diatium battery;
• hilt (outer body of the sword);
• plate or activation button;
• fuse;
• emitting matrix (emitter);
• recharge socket;
• a set of lenses;
• from one to three focusing crystals;
• energy conductor;
• battery insulation;
• wires and terminals for the energy redirection circuit;
• blade length adjuster;
• optional ring for hanging the sword on the belt.

The biggest problem is crystals: due to the properties of their structure, the energy of the battery can be transformed into powerful energy flows that are capable of melting any material encountered in their path in a fraction of a second. But if the crystal in the lightsaber is installed incorrectly, or if it itself is not processed correctly, then the lightsaber will simply explode when activated. And note that the energy of the explosion of the lightsaber is quite large ... The prospect is not pleasant. It has not been possible to learn how to select crystals using any clear scientific method, so people associated with the Force find suitable crystals. Once the crystals or suitable jewels are selected, their structure must be improved with the help of the Force in order for them to acquire these amazing energy-changing properties. In addition, they must be correctly positioned relative to each other and relative to other parts of the lightsaber, so that the process goes in the correct order and, again, does not lead to an explosion. It may take months for a Padawan to complete this transformation, while for a master it may take days.
After the crystals are completely ready, the process of creating the sword begins directly. All elements come together according to a certain scheme, and the next lightsaber becomes an integral part of its owner, the line separating life from death.
The result of the work is usually a handle with a length of 24 to 30 centimeters, or from 50 to 60 in the case of a staff, from which, when turned on, a stream of energy escapes from one meter to a meter and thirty centimeters long. In a light staff, similar beams erupt from both sides of the handle, respectively. However, beam sizes sometimes exceed even a meter and thirty centimeters, for example, there are two-handed lightsabers with a blade length of 300 centimeters and two-phase lightsabers with a length that can be switched between the standard 130 and 300 centimeters. But both of them are extremely rare, and we will not consider them in detail.
Let's take a look at how a finished, assembled lightsaber functions. Initially, the energy generated by the battery enters the crystals, where it is decomposed into positive and negative charges. Positive charges are bound into an extremely dense chain of ultra-small proton beams, which have a huge energy potential. Also, as the sword is turned on, positive charges gradually charge the emitter, and negative charges charge the lightsaber's exit port (so the blade "grows" gradually as the fields get stronger). Then, after passing through the set of lenses, the beams expelled by the positively charged emitter and accelerated by passing through the negatively charged exit hole are focused outward of the sword by a distance set by the blade length regulator, which controls the strength of the fields at the emitter and at the exit hole. The beams move extremely fast and powerfully, but they are almost instantly pulled back by the negative charge of the sword's exit port. Thus, a very thin arc of the light blade is created, limited in space and creating a powerful positive field around itself. The rest of the “thickness” of the blade is only the result of the contact between the rays and the air around, nothing more than an optical effect. The returned beam, using a special circuit, is combined with a negative charge and redirected back to the battery, thus recharging it and spending almost no energy on its existence, except for those moments when the blade cuts (melts) something or comes into contact with another light blade. Both during cutting and upon contact, the energy beams are discharged, generating super-powerful thermal radiation on a small area around them.
To all this I would like to add one comment from myself: people who know physics say that it would be much more logical if the rays consisted of electrons, not protons. But, unfortunately, electrons are charged with a negative charge, and this contradicts the official data.
Now, based on the above text, let's highlight the facts that are significant for the subfight. Note that I basically do not indicate here those facts that are related to the lightsaber, but have nothing to do with fencing:

1. a lightblade has no mass;
2. any part of the light blade is a cutting surface;
3. lightsaber blades do not slide over each other due to the interlocking of the discharged beams;
4. the arc of the light blade (due to the fast closed movement of the rays) creates a powerful gyroscopic effect, due to which it is difficult for the swordsman to instantly change the direction of the sword;
5. the lightblade reflects not only blaster shots (carrying the same positive charge), but also the blades of other lightsabers, creating a repulsive effect that can only be extinguished by applying significant physical force (natural or acquired through the Force);
6. at the moment of contact, the light blade generates such a powerful temperature that even a superficial touch on human skin is enough for a person to receive an extremely painful wound that will not allow him to continue the duel.

Saber.

The Saber is a humanized weapon for the reconstruction of lightsaber fencing. This term arose a long time ago based on the gradual simplification of the word "lightsaber" ( lightsaber- lightsaber (English)) to its current state. It is now used by virtually the entire Star Wars fandom and is a household name for a lightsaber-like hilt that can optionally be fitted with a colored blade for combat.
Of course, in our world there is no beam generator similar to what a lightsaber blade is, so we can’t follow the rule of “complete absence of blade weight” in any way. However, by experience and long practice of various groups, standards have been deduced that help to adequately model a lightsaber in duels.

Handle:
Weight: 400-600 grams.
Length: 25-30 centimeters.

Blade:
Weight: 0-250 grams.
Length: 80-100 centimeters (including the part that goes inside the handle).

However, we note that these figures are not unquestioningly binding. Some people create much heavier sabers (with a total weight of 1 kg or more) and, nevertheless, work perfectly with the subfight system. But such swords have one significant limitation: they can only fight against sabers with the same or close enough weight. It is virtually impossible to work against light blades: unfortunately, due to their mass, in most cases they simply demolish the enemy’s sword (they do not bounce when touched, but move further by inertia after the enemy’s outgoing sword). This does not happen in Star Wars: opponents can enter into a clinch (swords “link” and move together in one direction or another), but it is actually impossible to break the enemy’s defense simply by mass and force. The rebound effect, which we will discuss in detail later, is strong enough to, coupled with the slightest resistance from the defender, cause the lightblade to abruptly lose the momentum generated by the attacker's muscles.
In general, the main thing that is required from two sabers meeting in a duel is that their weight is relatively the same and that the balance of both is at least at the outlet of the saber, and preferably even closer to the center.
Now a little about the length. You can determine the length of the assembled saber that suits you specifically as follows: the bottom of the hilt of the assembled saber (hilt + blade) should be at the height of your protruding femur or slightly higher if the sword rests the blade on the ground parallel to the leg. This length is reasonable for performing various feints and tricks that require turning the sword: if your sword is too long, then you will not be able to perform even the simplest turning of the sword at hip level - hook the blade on the ground. Accordingly, you will either have to increase the angle between your body and the sword, or raise your hands higher. Both can end up making it harder to control the sword and severely limit your options.
How to assemble the handle? There are already a lot of answers to this question at the moment. There are about five different ways to create swords: from collecting it from various plumbing parts to a full manufacturing course at the factory. For example, my main saber was made from a polycarbonate rod with leather trim firmly glued to it and a hole drilled at home for the blade. Lead was placed inside the shaft to shift the balance from the blade to the emitter of the sword. Several of my other sabers (for the role of Grievous in one of the role-playing games) were made from 30 cm lengths of light metal polished tube (available at the construction market), which were made to order at the factory for figured cuts. Then plastic tubes of a slightly smaller diameter were inserted inside the tubes, completely wrapped with a telephone wire (the telephone wire did not provide sufficient structural strength; additional layers of plumbing insulation had to be used to strengthen the plastic tube inside the metal one). And already blades are inserted into these plastic tubes to this day. Both the first and second types of construction provide the swords with the necessary lightness, combined with complete comfort of grip and control. However, I also know sabers, which are assembled from plumbing parts purchased in the markets. True, such sabers usually turn out to be unnecessarily heavy and are not suitable for fights with light sabers.

The next important factor is the material from which the blade is made and the "humanizer" (material that softens the blow) on it. In my opinion, the humanization of a saber blade can be left to the discretion of each individual: experience shows that it is not the softness of the blade, but the ability to control it that determines its humanity. However, one of the most successful options, still used by most subfighters, is to loosely wrap the blade with one layer of foam rubber about 0.5 cm thick and two layers of the corresponding colored tape. The blade itself must have the following properties:

• be as light as possible;
• small in diameter (no more than 15 mm is desirable);
• without edges;
• have a certain flexibility, but at the same time clearly keep their shape (return to their original state after impact, and not bend forever).

One of the most successful options, suitable for all these characteristics, are various fiberglass rods, which can be purchased at various research institutes or at factories involved in chemistry and plastics. These rods have one remarkable property that allows you to get as close as possible to understanding the mechanics of lightsabers: upon impact, they spring and repel each other. If a person does not resist this repulsion, but allows inertia to carry their hands in the right direction, then the movements become fast, wide, consistent and (most importantly) very similar to what we see in Star Wars. In addition, the repulsion itself generates certain laws in the movement of the blades, which increases the overall duration and aesthetics of the duel by several times.
I would like to add that, in my opinion, you should create two copies of your saber at once: the first will serve as a beautiful waist version (you can install a lot of decorative details on it), the second - a combat version (it should not have any extra elements that can hurt your hand).

Two types of rebound.

The concept of "bounce" arose almost two years ago, immediately after writing an article on a lightsaber. It was an extension of the fact that the energy of the blades of the swords repel each other, and meant "a fairly strong repulsion of the light blades from each other at any touch." After carefully studying the fights of the First and Second Episodes from this angle, I received answers to some questions that until then had no logical explanation, for example: why at one time or another one of the combatants did not cut into two even slices of an absolutely open (from the point of view of fencing) , for example, a bastard) of the enemy? At that time, there was no Episode Three yet, but even after the release, it only confirmed the existing concept once again, expanding it with additional information. Guided by my curiosity, I also studied the duels of the Original Trilogy, although George Lucas himself called them “old man, student and half-machine” duels, from which you should not demand much. However, studies have shown that in the duel between Obi-Wan and Darth Vader, in slow motion, you can see one combination of three blows made on the rebound, and the remaining blows of the duel are clinches, which were also included in the subfight system. However, most of the clinch strikes of this duel are not visible at all, because. there are solid close-ups of the heroes. In Episode Five, both Luke and Darth Vader use the rebound more than once, combining them with occasional clinches, but don't actually use long combos, constantly coming apart after short combos of three or four hits. In the Sixth Episode, however, the rebound is more than enough to ensure that its presence in the Original Trilogy is not doubted exactly the same as it is not doubted in the Prequel Trilogy.
However, despite all the data related to the construction of a lightsaber and duels in films, I still sometimes encounter a reluctance to accept this information. Therefore, before starting a detailed analysis of the mechanics of the "bounce", I will give a slightly strange, but extremely important argument that speaks for it.
If you don't agree with the subfight's rationale, don't agree, but don't abandon the system without trying it either. Unlike all other Star Wars-style fencing systems I know, it allows you to quickly learn how to conduct long fights without staging in full accordance with the spirit of Star Wars. Its performance has been tested by a year of regular training of various people. And this, it seems to me, is better than any words. J
Remember that a subfight is a reconstruction of the technique of fencing with a lightsaber, a fantastic weapon, and therefore it may require a certain amount of imagination (albeit based on knowledge of the physical principles of the simulated weapon), which, when used correctly, allows you to make fights that are as authentic as possible in that we see in films. If you try to regard the saber as a model of some ordinary sword (that is, equate it to a textolite sword that models steel weapons of the past in the current role-playing environment), and use it exclusively in the same manner as a bastard, sword, katana or a two-handed sword, then, believe me, you will not succeed in Star Wars. Without a doubt, sooner or later you will learn swordsmanship, if you did not know how to do it before. Fast, tough, takeaway and maybe beautiful in its own way. But to fight

• in which victory is achieved with one precise touch of the blade,
• which can last up to 40 (and even more) seconds of active sword work (without pauses, without waving the sword in the air),
• without prior preparation (staging),
• with the use of acrobatics and other spectacular feints

you won't learn this way. Your "one-hit fights" will end with an accurate lunge/punch 1-10 seconds after the start of the fight, which is fine in itself, but has nothing to do with Star Wars.
So, how to model a bounce? Firstly, in order to simulate this effect and at the same time get as close as possible to the full weightlessness of the blade, fiberglass rods are used as the base of the lightsaber blade in the subfight. They bend a little, but do not break (not a single such rod has yet been broken in my memory). On impact, they spring apart from each other, which allows you to get the embodiment of the rebound effect, so as not to model it based only on the imagination. The only way to stop getting bounce with these blades is to purposefully suppress it with muscle power.
And in connection with muscle suppression, I really want to focus your attention on the following. No blade known to man has properties similar to those of a lightsaber. Two steel swords do not generate such a rebound as in a subfight when they come into contact. With the same masses, a steel sword that was moving at a high acceleration causes it to lose momentum and repels the sword that moved more slowly. At the same time, he himself loses acceleration and either stops, or, more often, breaks through the opponent’s defense, passing at least a little further. And it is certainly true that an ordinary sword does not bounce due to the physical properties of the blade (the swordsman can deflect it himself, but that is another matter). In fact, any steel piercing and cutting weapon invented by man is either a pointed / sharpened “club” or a large awl. The technique of using most of them is based on breaking through the enemy’s defense or bypassing it due to speed and feints. So, in order to engage in subfighting, you will have to initially come to terms with the fact that a saber is not a melee weapon and the approach to owning it is somewhat different. The technique of working with melee weapons, which you may have developed when you were engaged in fencing on textolite weapons or even on sabers, but according to a different system, will help you very little in subfight. As practice shows, having an alternative experience to a subfight rather prevents your body from accepting new concepts for it. Only constant practice will help to solve this problem, during which you will develop a rebound, teaching your subconscious mind new possibilities for using weapons (which, we note, will be useful to you in other types of fencing in the future). You can, for example, consider that you are learning a fundamentally new style of using melee weapons, if this will help you learn the system.
Even though I recommend the use of certain materials for the base of the blades, I am well aware that not everyone and not everywhere has the opportunity to find them. It may happen that the material of the blade of your saber will not differ in its physical properties from textolite, and it may bounce no better than one steel bastard bounces off another. In this undesirable case, when learning to rebound, you will almost not feel how this effect occurs, which, as practice has shown, will interfere with you: at first you will have to make sure that the blade immediately goes back when it comes into contact with the opponent’s blade. However, it has been verified that after a while the rebound will still become a habit, and you will be able to catch it even on textolite weapons (either on sideburns, or on ladles - it doesn’t matter). I can only hope that you will immediately start working with a suitable springy blade, and you will not have to waste time again, forcing your body to get used to the fact that the "club" in your hands can be used in an alternative way.
In any case, regardless of the blade, at first you need to be especially careful that the muscles of the hands squeezing the sword do not tense at any point in the fight. You should firmly squeeze only the thumb and forefinger directly holding the hilt, otherwise the sword will fly out of your hands upon impact (during a subfight duel, such speed develops due to the increase in inertia that even strikes without using muscle strength become very noticeable). If you fix at least one muscle from the wrist to the shoulder, you will begin to suppress the natural rebound that occurs when two blades strike, and you, on the contrary, need to use it to the maximum in order to simplify your task, reduce energy costs and increase speed. . , which helps to develop the correct relaxation of the hand, you can find in the section "".
At the moment, the subfight uses two fairly fundamentally different types of bounce. The first of them is usually called “basic” or simply “rebound”: the comprehension of a subfight begins with it. The second is most commonly referred to as the "mirror bounce". It is somewhat more difficult to learn, and without a base in the form of a regular rebound, I do not recommend training it.
When using the basic rebound effect, the blade of your saber, after contact, begins to move in the direction where it was repelled by the blade of the opponent's sword plus or minus 30 degrees. Your sword starts to move back if the opponent stopped you with an oncoming block, or continues the movement that you made if the opponent's blade gave you additional acceleration.
Let's look at this theory with more specific examples to make it clearer what is at stake. The first variant of the basic rebound is very easy to imagine: let's say you and your opponent are doing two blows from right to left in exactly the same way (he is from his right side, you are from yours). The blades collide exactly in the middle between you, and at the moment of contact, your swords begin to move back, change their movement vector to the exact opposite. Of course, you can (and should) make adjustments to the movement of the sword. Without suppressing inertia, but following it, you can slightly change the trajectory of the sword (the same plus or minus 30 degrees), thus weaving the grid of your strikes in a duel. These 30 degrees are quite enough to go to the bottom one after the top blow and vice versa, and, thus, completely cover the entire possible area of ​​the attacked surface.
The second version of the basic bounce is somewhat more complicated. Let's say your opponent delivers a horizontal punch from right to left (for him) to your body. If left unchecked, the blow will reach the torso. However, if you hit his blade a little from above and, as it were, “catching up” with his blade (i.e. strike from left to right for you), then due to the rebound, his blade will accelerate, but go down, thus passing by your body around your knees, but without hitting you. After that, your sword, following the rebound, will most likely go for a right hand (for you). The opponent's sword will describe a full circle and return again to the right (for him), which will allow you to close the swords again without destroying the overall pattern of the duel. The second version of the basic rebound is usually implemented with the help of timely wrist movements, which allow you to meet the opponent’s blade not with a direct block, but as if “picking up” it from the other side.
In order to visualize both faces of the basic rebound, look in the "" section.
Now let's talk about the rebound mirror. This concept is much more complex for correct use and before you start mastering it, I strongly recommend training the basic rebound to the point where you can use the rebound without thinking at any contact of the blades. Otherwise, there is a very high chance that you will perform a mirror rebound incorrectly, knocking down the enemy’s sword and violating the rebound principle.
Specular bounce is based on the principle: "the angle of incidence is equal to the angle of reflection." That is, after the contact of the blades, your sword does not begin to move where it was reflected by the opponent's sword, but continues to move in a given direction, changing only the angle of movement. It is difficult to explain such a thing in words, therefore, firstly, I will try to give an example, and secondly, I recommend watching.
Example: your sword goes vertically downwards at the opponent's head, the angle of your blade relative to the ground is 30 degrees, your arms move along your body, and do not move forward towards the opponent. Represented? J Opponent places a horizontal block directly overhead. If you follow the basic bounce, then your sword after the contact of the blades should go back up (or rather back towards you, on a scroll that goes into a low cut), but when using a mirror bounce, it will go further down, just not to the opponent, but from him. The Mirror Bounce, like the Basic Bounce, does not lead to knocking down the enemy’s defense. It is slightly faster and requires less free space around, but also requires good skill in subfighting with brushes. If the basic rebound is mainly learned with one hand, then the mirror rebound is much easier to master when working with two hands, which will allow you to competently redirect the rebound energy in the right direction by working exclusively with the wrist and elbow bends, without violating the principles of the subfight. The most notable example of the use of mirror bounce in Star Wars is Darth Sidious's technique in Episode Three. It is thanks to the mirror method of movement of the blade (and of course, the ability to dodge well instead of blocking) in a duel with Jedi Masters that Darth Sidious gains time to stabilize the sword, which, for example, is necessary in subfight and in films for injections. In addition, the specular bounce works great and is often necessary at short distances (in the movies, an example: Obi-Wan and Anakin's duel in a room and on lava platforms).
In general, if you already feel confident enough with a saber in your hands and do not make critical mistakes in the rebound, then you should probably try the "mirror rebound" technique and decide how much you are going to use it.

General principles.

The rebound is undoubtedly the main idea of ​​the subfight, on the foundation of which its style and capabilities are built. But there are a number of principles that are common to any type of fencing, and two additional features of lightsabers that must be covered. Let's start with the features.

Blades do not slide over each other.

Fact one: the light blades do not slide over each other at all. Many earthly fencing techniques are based on skillful evasion/sliding along the opponent's blade. So this is not in subfight. If the blades of the swords are already closed and held in this position by the opponents (clinch), then no slip should occur.
If you pay attention, in the films one rather complicated (as practice has shown) technique is used: one of the opponents suddenly during the clinch “tears off” the blade of his lightsaber from the blade of the opponent’s lightsaber, very quickly moves it a little to the side and cuts the opponent’s brush / brushes, until his hands are gone on the rebound. So, in particular, it is this technique that clearly shows that there should be no slip: slightly move the blade, carry it over the opponent's blade, and put it again. Although, of course, the enemy is unlikely to allow you to do this, and therefore such a maneuver is quite risky and requires considerable skill. J
In principle, the adoption of the concept of non-sliding is not difficult for anyone, and even with clinches, the mistake of “sliding” is extremely rare, but still, to consolidate the ability to control the movement of the saber along the opponent’s blade, we recommend using the exercise, which received the name in the fandom "sticky sabers". Look in the "" section.

Gyroscopic effect: inertia and fixation.

Fact two: the included lightsaber has a gyroscopic effect. This effect prevents the swordsman from quickly changing the plane of the lightsaber's movement. We can say that the sword has its own inertia, which requires some effort and time, if you try to change it. Two facts follow from this: firstly, the saber should be held with two hands. Beginners tend to switch to one hand when using the basic bounce for more speed and convenience. In this, I think, there is nothing wrong, because. films often use one-handed work, but at the same time, a two-handed grip should still be trained: this helps in the future when learning mirror rebounds, clinches and injections. Secondly, the gyroscopic effect makes it almost impossible for a sharp change in the speed of the blade in space. Therefore, the acceleration at the end of the blow, which is so characteristic of all earthly fencing schools, is absent in the subfight. The blow goes evenly, evenly builds up and the speed of the sword is lost. A sharp fixation at the end of a strike to transfer more energy to the opponent's sword and its demolition should not occur. As well as sudden acceleration, for example, at the beginning of an impact. The lightsaber's resistance to sudden acceleration renders them virtually useless. it still doesn’t work to change the speed sharply, but significant forces are spent on it. It is much more reasonable to gradually increase the speed, using the available inertia and the rebound itself. B highlights the difference between a strike with fixation, characteristic of earthly fencing schools, and an inertial strike based on the reconstruction of Saga fights.

Now let's move on to the simpler and at the same time much more laborious part: general principles fencing. I will not give you all the specific exercises that can help you grasp these concepts. Firstly, there are many of them, and secondly, they differ in each school of fencing, although they teach the same thing. But, remember that better than any exercises of the concept helps to comprehend the practice, regular sparring with real "opponents". And even if you are a beginner, do not worry: memorize the theoretical information, and practice will gradually turn it into a real shield in battle.

Where to look?

A wide variety of works have been written about how and where to look correctly during a fight, and by the current stage of the evolution of fencing systems, the basic principles have long been clearly defined. The basis of everything is the correct condition of the eyes: they must be properly relaxed in order for you to see the entire battlefield, and not just your opponent. One of the biggest mistakes many beginners make is trying to follow their opponent's legs, arms, or sword with their eyes. Such a technique leads to an unequivocal defeat, since in battle you need to follow, firstly, the enemy as a whole and, secondly, the entire battlefield.
Several centuries ago, Miyamoto Musashi advised to look into the face of the enemy, narrowing your eyes a little more than usual. At the same time, they should behave as calmly as possible, not rush about in vain from side to side. It is as if you are focusing your vision on something that is far enough behind the opponent’s back, and your gaze literally “pierces” him. This diffused vision helps you to see the enemy as a whole, and to note all the features of the landscape around you, which are of great importance for competent movement in space during the battle. If you have to face several opponents in battle at the same time, you won’t even last 10 seconds without diffused vision.
The content of the look in the subfight is up to you. A look in the cinema (as in life) expresses a lot and serves as one of the main means of achieving victory in a duel. You can calmly contemplate the enemy, thus making him feel some discomfort from your confidence and security, and show outward tension, bring out the danger that you want to make your opponent believe in. This decision depends only on your personal aspirations. Just remember that even when intimidating the enemy with crazy eye rotations, you should constantly monitor all his actions, never lose sight of him or the battlefield, and not miss the moment of a possible attack by one of you.
I recommend exercising your eyes daily so that your vision does not lose vigilance and is tenacious enough during the battle. An example of the simplest exercise: sit down, relax and start moving one eye as much as possible up, down, right, left, clockwise and counterclockwise. You should gradually increase the speed of moving the eyes (speed becomes critical in a fight with several opponents). If your eyes get tired, do the following several times: close your eyes tightly and blink quickly.
In addition, I recommend periodically (especially during sparring) to practice improving the perception of your peripheral vision. To do this, during the battle, without focusing on anything, try to clearly understand what exactly is happening at the edge of your perception. You can ask others involved to help you with this. They will need to perform some actions, and you, without focusing your vision, will have to understand what they are doing specifically, and, in particular, whether this is a danger to you in battle.

How to succeed?

Reaction - the ability to develop an adequate solution to the problem for a given period of time. So I formulate the definition of this concept for myself. Accordingly, the reaction rate in fencing is the speed with which the fencer manages to work out the correct decision. When beginners say, “I can’t block, you hit too fast,” it really means, “I can’t block because I don’t have time to recognize your punches.”
A person's muscles allow him to move something as light as a saber with great speed if necessary: ​​look how fast, in fact, novice swordsmen move the sword in space, trying to catch up with the enemy, have time to close. And the problem of unsuccessful blocks in most cases does not come from the fact that a person does not have time to move the sword to the right place in space, but from the fact that he first convulsively thinks where it needs to be moved, and then tries to have time to do it. Accordingly, in order to have time to beat and strike, you need to clearly know how to do it, and not think about it at every blow. The better you know, the less you have to think, the faster you can act.
The bounce helps a lot to develop a reaction at the initial stages of training due to the fact that according to the subfight system, it is easier for the fencing person's subconscious to analyze the potential lines of movement of the sword. Their combinations are connected by a rebound, and this facilitates the task of primary learning of possible trajectories. As a result, in subfight, faster than in ordinary fencing, the trainee is brought to automatism the ability to “predict” trajectories and set blocks in a timely and correct manner. I note right away that this does not mean at all that a person has seriously developed a reaction, and now he will be able to fencing at the same speed using any other system without problems. No. But the first step towards the further development of the reaction has been taken.
Reaction speed is perhaps the only thing that can be developed in fencing indefinitely. There is no limit to its improvement, although at a certain point the difference in milliseconds of time becomes not so obvious to others. However, keep in mind that your reaction speed is different for different punches. The speed of reaction to common blows develops faster, but the ability to react to various special blows, feints and techniques can require considerable strength and additional training.
But the most important thing about reaction speed is that it is almost the only characteristic of a fencer that needs to be developed not through exercises. For reaction training, you need sparring sessions, regularly and, if possible, with different partners. Only in this way will you be able to fully develop the ability to respond to blows without thinking about them, to act without thinking, without wasting time on making decisions. And do not worry, the reaction develops quickly, one has only to realize that trying to understand where the blow comes from is useless, you just need to know it, to be sure inside yourself that the blow will come from there. Cultivate this confidence in yourself, and you will feel how easy timely blocks begin to come to you.
The last important point in understanding how to manage to protect yourself is a clear realization of the fact that you need to set blocks as close to yourself as possible. It is absolutely not necessary for you to beat off the opponent’s sword 50-60 centimeters away from you, 10 centimeters is enough so that after the rebound the blade of your sword does not hit you under any circumstances. If he puts the block too far away from you, then you can consider that you are literally asking your opponent to carefully cut off your hands, which will often be much easier for him to reach than to your body. Try to get used to this thought as quickly as possible, constantly reducing your defense distance to the minimum possible limit. In the future, for beauty, you may be able to beat off the enemy’s sword at a great distance from you (sometimes it looks very aesthetically pleasing from the outside), but first you need to learn how to manage to resist blows. When you start to feel confident with close blocks, start to gradually expand your sphere of defense back up to the maximum.

How to move?

If I had to limit myself to a minimum of words and describe the meaning of movement in battle, then I would say this: movement is life. Saber is an extension of your hands. Your hands are an extension of your body. If your body ends up in the wrong place at the wrong time, you are "killed". It's simple... J
One of the main things to learn about the art of movement in combat is to understand that not only the sword is your weapon. In battle, you, like your opponent, have weapons and at the same time the zone for defeat is your entire body, entirely. Arms, legs, head, shoulders - everything can be used to make the opponent lose his balance, or to simply hit him. But the enemy can deliver a “fatal blow” to any of these parts of the body. Of course, we will not consider hand-to-hand combat within the subfight system now: this is a separate, complex topic, which is described in the next chapter. Now you just need to realize that the sword does not move by itself, that its movements do not depend only on your hands. The swordsman must be master of his body, not just his sword. Without skillful movement, you will not get out of the battle “alive”.
Movement in combat can be divided into two points, which, although interconnected, are still not directly dependent on each other: "footwork" and "general coordination of movements." The concept of "footwork" includes:

1. the ability to quickly, but accurately, both reduce and increase the distance between you and your partner, constantly keeping it in a more favorable option for you;
2. the ability to move in such a way as to gain an advantage in using the surrounding landscape and not give this advantage to the enemy;
3. the ability to prevent the enemy from hitting your legs (without making an extra move or with it, depending on the circumstances).

Each of these skills requires separate exercises, which we will now consider. The first of the skills is inextricably linked with such individual concepts for each fencer as "attack zone" and "standard hit zone". So that you can clearly imagine the size of these zones for you, do the following:
With your first action, you have determined your "strike zone", the limit of how far you can reach your opponent without taking extra steps. With the second one, you have defined your "standard kill zone". If the enemy went beyond your "attack zone", he became inaccessible to your sword. If it's closer than the "standard zone" distance, then you won't have to lunge to get it with the blade.
Note that these zones spread evenly from you in all directions: during the battle, the concepts of “front, back, left, right” should not be too important for you. In theory, if the enemy is on the border of your “attack zone” from you, but behind you, and not in front of you, you will not be able to reach him. But you can always quickly turn around to face him without interrupting your strike grid. Therefore, it is believed that, even being behind your back, he is in the “lunge zone”, and not outside it.
Now think about it: nature is so determined that the larger a person is, the more likely he is to have both arms and legs longer. In addition, if you remember, we determine the length of the saber from the thigh bone to the ground. One logical conclusion follows from all this: the longer a person is, the greater his “attack zone” and “standard zone of destruction”. The result of this conclusion is that a person who has arms and a saber combined longer than your sum of saber and arm lengths is usually very profitable to keep you in the distance of his "standard zone" and not let you come closer to the distance of your "standard zone" . As a result, the duel willy-nilly turns into a kind of dance, where you try to reduce the distance, and the enemy tries to keep it. Knowing how to do it right, on time, and to your advantage is the key to good footwork. In order to at least minorly develop this skill, use. To further develop and consolidate the ability to keep the right distance, you will need sparring with partners of different heights. It is desirable that you manage to work with partners of all three types: those who have a larger area than yours, those who have less, and those who have it as close as possible to yours.
The next important component of the concept of "footwork" is the ability to move in such a way as to gain an advantage in using the surrounding landscape and not give this advantage to the enemy. This skill is directly related to how you need to look correctly during the battle: if you do not see what surrounds you, then you will certainly fall into some kind of “trap” of the landscape. If your opponent drives you backwards into the bushes and you can't see them, then at some point you will find yourself in them. And a second delay, while your attention is distracted, is enough for the enemy to inflict one accurate blow on you. At any moment of the battle, you must clearly imagine the situation around and try to use it for your own purposes. If you are attacking, then try to drive the enemy with your back into trees, bushes, and other possible obstacles on the ground. They can divert his attention and ensure you win. If you retreat, do not move back in a straight line, move at least slightly in an arc, as if trying to get around the enemy from the side. Then you will spin around on approximately the same safe patch during the battle, despite your constant retreat.
In addition, terrain can be used to deliberately position yourself slightly below or slightly above your opponent. If you are significantly shorter than your opponent, and at the same time stand even lower, driving or luring the enemy to a rise, then it will be very convenient for you to go down (crouch) and start striking more on the legs. The growth of the enemy in this situation will play a cruel joke with him, as he will rise too high above you, and he will have to bend down to maintain an acceptable kill zone. And the slope, in turn, requires the fixation of the back muscles, which slows down the speed of the reaction and movement of a person.
I have given only two main examples of the use of the landscape, but in fact there are many more. Keep your eyes open and feel free to experiment in friendly sparring: in combat, this will undoubtedly come in handy. J
The final component of footwork is the ability to keep your opponent from cutting off your legs. If you pay attention, while actively moving around the area, it is common for many people (at first) to take large enough steps for what they think is more efficient movement (for example, to catch up with a more skilled swordsman luring them along). In fact, this only leads to one thing: their legs begin to strongly and openly outstrip their own hands and the sword in them. Guess how it ends? Correctly! Often, just one timely swing of the sword, directed at the shin, is enough to inflict a wound on the enemy and thus end the duel with his victory. How to avoid it? Very simple. Your legs must be mobile all the time, you must be ready at any moment, as soon as the enemy starts to go down, either to block his blow directed at your shin, or simply to remove your legs beyond his zone of defeat, taking at least a step back. In no case should you freeze in place and pretend to be a stone statue, just as you should not pursue the enemy with leaps and bounds, who is just waiting for your foot to be a little further than the protecting zone of your saber. To master this skill, use and remember that the body and arms are not the only areas where you can be hit.
On this "footwork" we examined. Let's move on to a slightly more interesting problem and consider the general coordination of movements. It includes:

1. the ability to keep balance under any circumstances (on damp ground and at high speed, for example);
2. the ability to quickly change the position of the body relative to the vertical;
3. the ability to bend the body so that it does not have to block the opponent's sword (for example, when there is no opportunity to block);
4. the ability to dodge an opponent's blow without blocking it, and at the same time deliver your own blow.

The ability to keep balance grows only through increased and regular training, so if you feel that you lack it, you will have to take it seriously enough. Firstly, you need to learn how to stand on one leg for at least 30 seconds without problems, without staggering. Both on the left and on the right, alternately. To do this, just dedicate at least ten minutes every day to this. Secondly, you need to learn how to stand with eyes closed spreading his arms in different directions. Thirdly, learn to jump without problems on one leg back and forth, to the sides (with open eyes J). Fourth, learn how to make a turn at least 180 degrees while jumping on one leg. Fifth, gently do three forward bends and one as deep as possible back bend (but not abruptly, so as not to inadvertently injure your spine). Sixth, learn to do several full rotations of the body in a row, refracting in the waist area, clockwise and immediately then counterclockwise with the deepest possible backbend, as when tilting. Naturally, with each of these exercises, you need to ensure that the balance does not leave you at the most inopportune moment. J After all these exercises begin to be given to you without significant difficulty, you can consider that you have a basis for maintaining balance. This base will allow you not to lose your balance or dignity in battle, for example, due to the fact that you slip a little on damp ground. Of course, these exercises alone are not enough: you will definitely need to get used to the fact that all movement in a duel is carried out on slightly bent legs and nothing else. If your legs are at any point straight, like stilts, the ability to balance will not help you: your muscles will not have time to react and change the point of balance. So remember: always keep your legs in a fight at least a little bent at the knees.
Next, let's look at the ability to quickly go down and back up during the fight. As I already said, in the vast majority of cases, untrained people provide extremely poor protection for their legs, so hitting them with one accurate blow of a saber in one leg or another is usually not too difficult. This is due not only to the fact that novice swordsmen do not have a very clear idea of ​​\u200b\u200bhow to block blows directed at them with a sword, but also to the fact that instincts tell them to act as simply as possible: stand straight, protecting the body, and repel blows as it will. In fact, fencing requires a lot of mobility (even if your fencing style will be very economical later on) and flexibility. In particular, you will have to learn how to naturally go down to the ground (sit down, bend down) during the fight and in time (effectively) go up, thus using to the maximum any of your physiological advantages. For agile short people, working close to the ground is one of the main ways to make any opponent with a large kill zone nervous, because going down, short opponents significantly reduce the advantage of long-armed people in a duel. But, of course, this work “near the ground” should be competent and timely enough so as not to become useless and not lead to loss of head in the most direct sense. In order to master the ability to easily switch between the lower and upper positions in combat, I recommend that you try to practice for some time specially designed for this purpose. Note that it will be equally useful to any fencer, regardless of height, and, in addition, the exercise is of considerable recreational nature, which is often useful when conducting training.
The last two skills that make up the overall coordination of movements in fencing are the ability to avoid the opponent's sword without blocking it, and the ability to strike back at that moment. These two skills are extremely closely related to each other, so I will consider them together. First of all, I note that this skill is given to different people in very different ways. Some physically prepared and even flexible people, for some poorly explained reasons, never achieve success in this area, while people who are much less in control of their bodies sometimes show simply miracles of ingenuity both during exercises and then in battle. That is why I strongly recommend that you do not ignore the two exercises ( and ) and try to develop these abilities as much as you can at all. Sooner or later you will need it very much, and the reasons for this are very specific. The ability to move away from the opponent's sword without blocking it gives you unique opportunities in combat: during the opponent's strike, your sword remains completely free, which, in particular, can give you time to prepare a correct subfight thrust. The ability to move away from the enemy’s sword with a simultaneous counterattack allows you to create a great danger for the enemy and force him to also resort to dodging with the body, which, as I said, is not easy for everyone, and not to defend with the sword. However, it is worth noting that I do not recommend building your technique only on such tricks: do not forget that in the films only Darth Sidious uses such tricks in a duel with Windu, and even then, not constantly. This speaks to the lack of prevalence of this lightsaber technique in the Star Wars universe, so from a reenactment point of view, I advise you not to abuse such maneuvers against unprepared opponents with dignity.

How not to harm?

I think someone will find such a headline at least funny or mysterious. How can one learn swordsmanship (or any other martial art) without harm? Of course, I would like to say that it is possible, but this will not be true even in matters of subfight, and I will completely keep silent about other types of martial arts. Despite the significant humanization of the blade in a subfight (in comparison, for example, with the blades of "wooden katanas", bokken), any hit on a fragile human body can lead to injuries of one degree or another. Both you and your opponent. One of the classic examples of self-injury while subfighting is a “well-aimed” blow with a blade moving at a very decent speed in spin-up to oneself on the kneecap. And about the fingers beaten off by novice subfighters by those who train them, legends can be made up for a long time.
I have no doubt that among the readers of the textbook there will be people who will say: “Is this really an injury? Well, the fingers are beaten off ... So it’s your own fault, you don’t have to substitute ”- and in some ways they will undoubtedly be right. In particular, in the fact that it is really not necessary to expose yourself to a blow. However, it is worth noting that subfighting is still not such a simple art. It requires both gradual learning and a gradual transition from understanding the saber as a club to understanding it as a model of a lightsaber. So, it is precisely during this period of changes in awareness, in tactics, in skills that a person manages to beat off a lot of other people's fingers on his way. Not at all due to the fact that he knows how to accurately, accurately and gracefully cut off the opponent’s fingers, but because he swings his sword at random, often straying into a simple pull of the blade in front of him in an attempt to defend himself from the partner’s calculated blows. As a result, most often, beginner subfighters hit the fingers at the moment when the partner has already delivered a neat successful blow to them, and the fight, in fact, is already over. But the newcomer has already jerked sharply, trying to defend himself, and, despite the fact that he failed to defend himself, he brings his quick and most often biting blow to the target a split second later than his partner. As a result, the partner is hurt, but not because the blow was good, but because the rules of the duel were involuntarily violated. This problem, first of all, arises from the fact that the beginner simply does not know where and how to put the sword, as I have already said. But, besides this, its source, leading to injuries, is fear and inability to control the speed and direction of the sword. And if the ability to control the sword is not so difficult to understand, then the question of fear is much deeper. In order to clearly hold your blade, stop and soften it in a timely manner, thus, strikes even at high speed, refer to. In order to cope with the fear that pushes you to make sudden movements, you will have to spend a large part of your energy during the first time of training forcing yourself to do what your mind refuses to do. For example, turns (see sections "" and "" in the next chapter) or provocative open stances (Windu's famous "airplane" when he spreads his arms to the sides and seems to remain open to attack with impunity for a while, even if this is not So). These things break down the barriers of fear of the unknown and allow you to get used to the fact that there is essentially nothing to be afraid of. That, in fact, all this is done for the great universal pleasure of recreating the beloved Universe, and not at all in order to beat someone painfully. J
And to make life easier for teaching people, we have recently introduced a relatively rule in our training, according to which it is impossible to hit the sword from the fingers and below. That is, you can hit the emitter (and in theory this counts as a victory), but below (starting from where the fingers hold the handle) - no. The fact is that in films for some reason there is only one example when the blow goes to the sword (Dooku cuts off the emitter of Anakin), although in classical fencing it is often much easier to hit the sword-fingers than to cut off the brush. The explanation for this was invented on the basis of the official fact that the diathium battery has a gigantic charge, leading to a powerful explosion if used incorrectly. It was decided that if it hit the fingers or the bottom of the hilt, "there would be an explosion" that would kill both the one holding the lightsaber in hand and the one who delivered such a clumsy blow (note that Obi-Wan's Darth Maul makes a cut the light staff exactly in the place between the batteries, without affecting either them or important circuits). The explanation, of course, is fictitious and has no official evidence, but it saves fingers and does not contradict the realities of the films at all, so I recommend not to refuse it. J

Who to train with?

One of the most important guarantees of proper training and self-training for any kind of fencing, I would say is the correct selection of partners for sparring. As you understand, in the course of your life you will have to face a variety of people in the field of fencing. You will probably see some of these people in battle for the first time in your life. And if you are not fully prepared for this, then your chances of winning this or that duel will begin to rapidly decrease. In addition, due to the feeling of insecurity, you can suddenly start using completely different tactics during these encounters, which are not taught at all, and throw strikes that are far from the subfight system. This is quite natural and understandable: you are faced with a stranger who can potentially hurt you, and you need to deal with him, preferably without hurting him too. And thoughts involuntarily begin to emerge in my head that friendly sparring is one thing, and a direct combat clash is quite another, in which “all these inventions, like a rebound” simply will not work. In fact, if you spar correctly, you simply won’t feel the difference with a combat clash. The key to the correctness of sparring are two equally important points: 1) conduct sparring with people who differ as much as possible in physical constitution; 2) do not forget to at least periodically carry out training sparring "takeaway".
With the first point, I think everything is quite clear. If you want a full workout, find at least three different types of people: 1) almost the same size as you in the size of the affected areas; 2) a person below you at least half a head (perhaps younger); 3) a person is at least half a head longer than you (perhaps more physically developed). These three types of people are quite enough for the usefulness of training, but I recommend to be guided by the rule: "The more people who train with you, relatively equally trained in matters of subfight, the better."
The second point, apparently, also does not raise any special questions. Because subfight is a fencing system focused on long takeout fights, then, accordingly, without training takeaway fights, all the study of the material will be useless. By the term "takeaway" I mean not just a training fight, where we strive to learn something, work slowly to understand our mistakes, etc. I mean a fight in which you go up against an opponent that you want to "kill" as quickly and hard as possible. This will require a certain amount of imagination. You can, for example, imagine that you are playing a duel between a Jedi and a Sith in a field game. Or that you're doing a duel in a fan movie. Let's just say that your goal (as well as the goal of your "opponent") is to wind yourself up as much as possible so that the fight is as close as possible to the real conditions. It is in such a battle that you, along with your partner, will be able to fully evaluate your mistakes and shortcomings, so that you can then carefully work on them.
In addition, do not forget: if you work with the same partner for a long time, then you can get used to his manner and after that develop a certain clear series of blows, which you will begin to use. As a result, you yourself will limit your possibilities and will go in cycles in certain combinations, which will deprive you of mobility and variety, both in a duel with this opponent and in all other duels.

But what about performances?

Speaking of imagination, of course, I can't help but mention the productions, the idea of ​​​​creating which attracts the attention of a considerable number of Star Wars fans to swordsmanship. It has long been known that various fencing groups regularly come up with some kind of free-form combat, more like kendo or bastard work than Star Wars duels. At the same time, representatives of these groups quite reasonably talk about the ZVshness of their staged fights. This problem was one of the most important in the complex of problems that at one time prompted me to look for a fundamentally different approach to solving the problem, an approach that would allow creating Star Wars-style battles without staging, on the go, fantasizing and creating. The solution was found, and gradually it was transformed into a full-fledged subfight system. As the subfight developed, it gradually became clear to me why the option is so incorrect when the combat system actually has nothing to do with the result in the form of productions. In such productions, no, no, yes, some absurdities slip through when the question arises: “Why didn’t you kill him?” They arise due to the fact that the combat system does not teach those involved in the ZVshness that the production requires. As a result, when creating a performance, people begin to improvise, try to go beyond the limits of the system that they were taught, choose blows for beauty and do not have time to pay attention to the effectiveness and correctness of the overall scheme of the duel. I'm not saying that you need to start staging only when you have comprehended all the peaks of the subfight. No, not at all. Performances in general have a very beneficial effect on the morale of all those involved in a particular system. It's just worth taking them seriously only when the subfight with all its endless variety of possibilities becomes clear to you, when the rebound is no longer questionable (because you will be convinced by the materials of the Expanded Universe, or because you simply like the result). At this point, when you start working on a production, you will willy-nilly view it as just another duel and therefore consider questions such as:

1. how not to run out of breath during the continuous production?
2. what feints should be done so that they do not seem feigned and stupid to the viewer?
3. what speed and distance should be the main ones in a duel so that it looks harmonious in the performance of these two people?

And so on and so forth... The answers to all these questions will appear to you easily and naturally, simply because you will know all these answers in advance, even during training, from your own personal experience.

Lightsaber rotation.

If you have just watched the movies, then you probably expect to see a lot of interesting information in this section. Unfortunately, she is not here. J There are two reasons for this.
The first reason is the difficulty of explaining in text alone how to perform a particular rotation, so all the explanatory and accompanying material on rotations that I could provide can be found in the exercise chapter along with specially slowed down video examples.
The second reason is that Star Wars duels don't use sword spins as much as you might expect from normal movie viewing. The feeling of having a large number of rotations is mainly created by the smooth trajectories of the movement of the sword, which in the subfight system manifest themselves to the same extent due to the rebound. Practice shows that there is no use of time rotations in battle, and therefore they remain beautiful gestures and a demonstration of skill. They are usually performed at the beginning of a fight or at rare moments of spending with a partner and, of course, on role playing when deflecting blaster shots. Sword spin is heavily used in the films except for Obi-Wan and Qui-Gon in Episode One, where their fighting style involves turning around frequently while simultaneously spinning the sword to strike. Such a rotation with a lightsaber (360 degrees) has its official name: "shun" (see "Official names of techniques" and). It can be more or less successfully woven into a duel without the risk of paying for an inappropriate distraction from the main task. In addition, for use in combat, I recommend learning the following spins: 8, reverse 8, 2 swords 8, and reverse 8 with change of hands. You can find these rotations and the technique for their execution in the exercises and.
In addition, you will undoubtedly be interested in and, in which you can find more complex rotations that are rarely used in the heat of battle, but, as I said, you can, for example, start a duel with them.

Variety of fencing styles.

As you develop basic skills and develop new ones as part of the subfight, you will gradually begin to develop your own unique combat technique. This should not be feared or thought to be wrong. Against! Subfight is designed to push people to develop the technique that is most comfortable for them, taking into account their height, weight, general body flexibility, arm length, saber length, and so on. In this, as I said earlier, we follow the tradition expressed by Nick Gillard: you must first of all try to work in the way that suits you, and not in the way that suits someone else. The degree of readiness of your subconscious mind to accept new material largely depends on this: if you do what you don’t like, if you force yourself unreasonably, there will be very little sense from this.
During the year of training, I happened to observe a fairly large number of people of various types, and each of them, in the case of regular training, literally after 5-6 training sessions, their own specific style began to manifest itself, both in movement and in sword control. Naturally, all this does not mean at all that technical errors can be attributed to “personal style”. Mistakes remain mistakes, and they need to be corrected in time before they become a habit. But, for example, the amount of use of vertical movements (getting up-squats) in combat, the variety of strikes, the number of turns, stances, feints, the use of one or another type of rebound - all this remains at your discretion. Showing your personal accents, you determine your future style of fighting. Of course, it will change somewhat depending on who exactly you have to fight, but the single basis will still be preserved.
So far, I've seen how people successfully try to imitate the various characters they see in films, and how people develop their own unique techniques. For example, one student moves in a manner very similar to that used by the Magna Guards in Episode 3, except that he fights with a saber instead of a staff. He relies primarily on speed, a large number of turns with a sword stretched out in front of him, wide blows that do not let the enemy close, and a very clear ability to catch a rebound at any speed in any plane. All this gives him the opportunity to use his own style, which, to put it mildly, not everyone can use. Another subfighter, for example, is successfully aiming for a technique reminiscent of the Obi-Wan style of the Prequel Trilogy. However, as he trained, he went from the sloppy Obi-Wan of Episode One to the high-speed Revenge of the Sith Obi-Wan. I have also seen those who try to master the manner of working low to the ground, using a large number of energetic movements that seriously confuse the enemy. Of course, this is not yet Yoda's style, but it is by no means demonstrated by 900-year-old Jedi Masters. J
In general, try to find what will be closest to you, most of all to your liking. And if you want to see a few examples of what this might look like, take a look at the final exercise (in the “ ” section), which simply presents, without further explanation, several different techniques.

Chapter 2

Difficulties of reconstruction.

We all know that Saga fights are an incredible combination of length and speed of combat, and of course we are well aware that this is only the result of a long work of actors, action director and special effects masters from ILM. J But, trying to simulate similar battles in real time, without staging, we are sure to face various difficulties associated with the limitations that the harsh reality around us imposes on us. As a result, you and I are forced to fight like ordinary people, and not like superheroes from the movie, who have the Force, we are forced to find solutions to existing problems in some simple ways that are accessible to any person. For example, with all our desire, we cannot, turning our backs or closing our eyes, predict where and in what form the next enemy strike will come from, unlike forsoviki, who have such capabilities. But in the previous chapter, we've covered enough of the concept of "rebound" to understand how it gives us, ordinary people, the same ability to "predict" as the heroes of Star Wars. However, some of the other complex maneuvers we see in the movies have so far gone unrevealed. Let's look at each of them in more detail.

Turns.

One of the biggest hurdles for many beginner subfighters is the inability to do a full 360-degree turn during a fight. The fear of getting hit on the head with a sword when you are with your back to the enemy is quite understandable and natural, only now ... unjustified. In Star Wars, turning is extremely common, moreover, the subfight system, as practice shows, often leads to the need to perform such movements that are simply not feasible without turning. Turning in particular allows you to take the momentum of the rebound even on a block that is uncomfortable for you, use it to accelerate your body, and then transfer it to another, safer and more convenient plane for delivering an effective and effective strike. And at the moment when you are in a turn with your back to the enemy in the absolute majority of cases (at least if the enemy works on the base, and not on the mirror rebound), the opponent’s chances of hitting you are approximately the same as you have to hit his. Why is it so? The most important factor is, of course, that when you go around the turn after the bounce, your opponent's saber also goes somewhere else, respecting the bounce rule, so, in theory, it is not a threat to you at all. However, all subfighters sooner or later find their way to hit a person either before he completes a full turn and can defend, or, even worse, hit him right after the turn. How does this happen? The fact is that most people who strive to do regular turns do not think at all about how to do them correctly and without harm to themselves. Here are two of the most common mistakes made:

1. during a turn, a person either remains in place, or goes sideways, or moves forward (the latter is not a mistake, only if you go into a turn with an active offensive);
2. at the end of the turn, the subfighter pauses his saber, trying to orient himself, or goes into an unsafe stance.

The first of these mistakes leads to the fact that during the turn, opening even for a moment his back and his sides, the person remains in the standard zone of destruction of the enemy, that is, the enemy only has to correctly strike at the surface unprotected by the saber. After a lot of training, each subfighter begins to accurately place the saber in space and manage to deflect the techniques aimed at their backs, but at the beginning I recommend following one clear principle: if you make a turn, do it only with a step back, never step on the turn and never stay where you are. Following this principle at the initial stage will allow you to learn how to move correctly in a turn:

• perform a turn at any time without preparing for it for three strokes;
• keep a distance convenient for you, at which the enemy will not have time to hit you, even if he has time to catch that you have started to make a turn;
• first rearrange the legs, then carry out the most sharp, fast turn (if you are working at maximum speed);
• turn the head following the sword, and the body following the head, and not vice versa (you should try to see the enemy all the time while turning, although for a split second you will still turn your head, but this fraction should be minimal).

Only after all of the above has become familiar to you, and you begin to get the so-called "turns on the way" (when you move away from the enemy in a turn), you can begin to master more complex techniques, which include turns in the offensive and turns on place. It will require you to be able to anticipate your opponent's actions and place a block in time that will prevent the enemy from hitting you or scare him so that he refuses to attack with a blow, and perhaps give you one or another advantage due to surprise and the additional inertia that turn.
The second mistake is easier to fix than the first. First, as I said, in order to avoid it, your head must turn as quickly as possible. Then you will see the enemy at the beginning of your turn, and in the middle, and at the end, losing sight of him for a completely meager time. This will give you the opportunity to orient yourself and correctly assess the possible “aggression” of the enemy, and will allow you to close correctly. Secondly, at the end of the turn, do not freeze in place. If every time you freeze at the exit of the turn, stand up, etc., then for the second or third time your opponent will start his strikes somewhere in the middle of your turn in order to inflict a wound on you at the moment of your second fixation, around your fixed blade. Check out which shows how to make a variety of turns correctly.

Acrobatics.

I have to admit, I personally do not actually know acrobatics. Unfortunately, I noticed the incredible somersaults too late and at the moment I can really perform only the simplest of them. In addition, I personally don’t attach much importance to acrobatics as part of the reconstruction of Star Wars fencing, and the main reason for this is that it is almost never used in Star Wars. Yes, the heroes of the Saga make incredible jumps over the head of the enemy, but in any case, this will remain beyond our human capabilities. So the only major acrobatic maneuver in the entire Saga is Darth Maul's "butterfly" in Episode One. Not too much, right? Nevertheless, the basic subfight course includes the initial concept of acrobatics, which, if desired, can be developed into something more serious and intense. Check out the two simplest maneuvers in if you are interested in this topic. If, after mastering these simple movements, you have a desire to master more complex techniques, then I can recommend that you seriously take up the Brazilian martial art of capoeira. As far as I know, it will give you an essential basis for the serious and full development of your acrobatic talents.

Injection.

The stabbing technique is one of the most effective fencing techniques with weapons of the "bastard sword" and "one-handed sword" classes. Saber is a bastard sword, and therefore one of the most common questions asked by incoming beginners is: “Why not stab?” In fact, it is necessary to prick, and injections are an obligatory part of learning to subfight, but in no case should they be rushed, they should be treated with caution. There are two reasons for that.
The first of these is the high injury risk of injections (especially for girls). Since the thrust is applied with the very tip of the sword on a sharp movement of the hand forward, due to inexperience, you may not have time to hold it. If, for example, you do not slow down the tip that hits the solar plexus in time, then you will end up with a suffocating partner in your arms. You probably don't want it. J Be sure to cushion the edge of the blade with a layer of foam to cushion damage from an accidental stab.
The second reason is the specifics of the lightsaber itself. You probably paid attention to the fact that injections are extremely rare in films, and, for example, I remember only two of them most vividly: the one with which Palpatine begins the battle against the Jedi who came to arrest him, and the one that Palpatine inflicts closer to the end of the duel with Windu. Pay attention to the fact that both times, before making an injection, Palpatine gains time and space for himself, stabilizes the sword, pulling it back and holding it with the tip towards the enemy, and only then with effort, smoothly picking up speed, pushes him forward. All this is due to the fact that the arc of the lightblade creates a gyroscopic effect that causes the lightsaber to tend to move along a once set trajectory and which requires a strong effort of the hands for any sharp change in the vector of this trajectory. Therefore, preparing a thrust requires either bringing the sword into a position where you often remain not too protected, or skillfully continuing your movement (turning, for example) and using the momentum given by the rebound to reach the correct thrust within the subfight. In fact, after you have learned to feel the rebound without thinking, and the basic rebound is no longer difficult for you, you can try adding injections to your technique. Remember that the sensations that arise in the body during the injection are no different from the sensations that you experience during simple, chopping blows on the rebound: the same sensation of using inertia, not resisting it, but using it. You can find examples of how injections can be implemented in.

Clinch.

The term "clinch" in subfight refers to the opponents keeping their light blades in contact for a relatively long time. But how can the blades be held close to each other if, according to the laws of the universe, the blades must repel? Clinches often raise such questions, so I will try to analyze their methodology in as much detail as possible so that you do not decide that the concept of rebound and clinch contradict each other: in fact, they complement each other, creating the entire spectrum necessary for fencing in the style of Star Wars opportunities. To begin with, remember the description of the properties of a lightsaber: “a lightblade reflects not only blaster shots (carrying the same positive charge), but also the blades of other lightsabers, creating a repulsive effect that can repay by applying essential physical strength (whether natural or acquired through the Force)." That is, by applying a significant muscle force, significantly exceeding the force required, for example, for punching or demolition in ground fencing, it is possible to keep, reduce (but not ignore!) the rebound. A prime example of this is Luke in Episode 6, who strikes Vader, who has fallen on the bridge, with blow after blow, but despite all his aggression, only through six consecutive blows from the full backswing that occurs on the rebound after each of the blows. If the lightsaber blades had the properties of ordinary earth swords, then it would take only two such blows to end the battle: the first would knock Vader's sword, the second would immediately cut off his hand. The rebound has sufficient own strength to ignore it completely was impossible with all desire. If the enemy seriously wants to resist you, then regardless of his physical form, it will be enough for him to fix his muscles at least a little, so that, coupled with the repulsion energy of the lightblades, will not allow you to push through his blade without significant aggression and the use of force on your part. In addition, in the films, the attackers anticipate those moments when the enemy is going to hold the sword, and not take advantage of the speed and inertia granted by the rebound, but, unfortunately, no one reports such things to us, ordinary people during the battle. J
Of course, striving for reconstruction, we could not discard the concept of the clinch due to the seeming impossibility of implementation (we could not agree before the fight with each opponent about the strength of the blows and the time when clinches occur), because clinches happen often in films. To meet this challenge, a relatively simple system was devised that allows for clinches without violating any of the other Star Wars fighting concepts. This system looks like this: if your opponent takes a sharp, much faster than the main rhythm of the fight, step towards you, trying to reduce the distance to an absolute minimum, this means that he is trying to initiate a clinch. The presence of such a system allows you to get during the battle, on the move, clear information about in which version the enemy will now strike: on a rebound or in the form of a clinch. Of course, it requires a certain habit, which is not developed immediately, but fortunately, it is not so scary: even if you don’t catch the clinch at first, the opponent (who is quite fluent in rebounding) usually has time to react to your blade’s departure and replace his clinch with a rebound .
At the moment, within the subfight, we are trying to use two types of clinches. The first of them is unusually simple and well known to all Star Wars fans: the blades close with each other in the middle between the opponents, and the opponents simply start to press each other with muscle power, trying to move the opponent's sword to the side.

It is this version of the clinches that is quite popular in various productions and fan films, because. makes it possible to place opponents facing each other, to show crossed swords between them and expressiveness of faces (depending on the skill of the actors) at this moment.
The second variety is less obvious, and it is not always possible to understand that it was the clinch that just flashed on the screen, only in the active version. In the second version, the blades of the lightsabers close, however, after that the movement is not interrupted and the opponents do not put pressure on each other with their whole mass. Instead, they perform some kind of feint associated with the active movement of the blades (and the fencers themselves) in space, ending with the spreading of the blades to the sides. Usually, such maneuvers are accompanied by various turns or evasions, which look very exciting on the screen. It is this type of clinch that some viewers, while watching at standard speed, mistake for demolitions (knocking the opponent's blade to the side with a strong or sharp blow), which, in fact, is not at all in Star Wars. The difference between demolitions and active clinches is very simple: when demolished immediately after the blade hits the blade, the attacked blade breaks away from the attacker and rushes in the direction where the attacker pushed it, after that the attacker either tries to “catch up” with the attacked one, or freezes in place, at the point collisions. This does not happen in Star Wars duels: in any case, the blades either diverge on the rebound, or stick to each other, after which they either freeze in place, as in the first version, or move together, controlling each other.
On the second variety of clinches, a lot of the most beautiful feints from Star Wars are built. To perform them, you will have to master this skill quite fluently and not be mistaken in whether the opponent is initiating a clinch or simply trying to reduce the distance between you. Fortunately, this will not bring anything to your fight except for a failed feint, most likely, it will not even break the rhythm of the fight.
In order to master clinches, study how the clinch system works, and do not forget to periodically repeat, which provides a basis for performing the second type of clinch.

Reverse grip.

The reverse grip is not used in all styles of earthly fencing, if only because, for example, holding a sword with a reverse grip is pointless. J Personally, I remember only the gladius and katana from the guns adapted to the reverse grip. Nevertheless, almost every subfighter sooner or later (especially during sword rotation exercises) has a desire to try out what it is like to hold the sword with a reverse grip, when, with the arm lowered freely along the body, the sword point does not look forward, but backward. And then comes the realization that with the reverse grip of lightsabers, everything is far from being so simple and objective. Unfortunately, no one uses reverse grip in films, so it is not possible to analyze the data from the Saga. In this regard, when the question arose: “But how to do this?” - I tried on my own, starting from the basic concepts of subfight, to find a working solution.
The first really amazing discovery along the way was the fact that in subfight, unlike earthly fencing schools, the reverse grip is not at all a dominant, aggressive style. The reverse grip in subfight is a defensive technique. This unexpected fact is connected with the fact that, while respecting the concept of rebound, the reverse grip gives a very significant advantage in defense, seriously curtailing the ability to carry out simple, chopping attacks. In defense, it allows, by minimal effort, by moving the saber within the protective triangle (bottom right side, bottom left side, top center) and a slight inclination of the blade in one direction or another, quickly and effectively close from any, even the most extraordinary attacks enemy. But at the same time, the same rebound very tightly connects the attacking abilities of the reverse grip. You may be aware that the main advantage of the reverse grip in ground fencing is associated with the change in the muscle group used to strike with the sword, which gives the reverse grip the strike additional power and pushing force: it is much easier to knock down the opponent’s defense with a one-handed grip if the grip is reverse, not direct. So, the physical properties of lightsaber blades this advantage completely depreciate, tk. physical strength, as we have already clarified, helps almost nothing if a whole series of strikes is not carried out, but, as practice shows, it is quite inconvenient to go on an inertial rebound after striking with a reverse grip. Because of this, a person who fights with a reverse grip in a subfight will have to twist and twist his body in not the most comfortable variations if he wants to not only defend, but also try to attack.
This unexpected conclusion and the limitations associated with it led, after some development, to the second discovery: with a reverse grip, it is still possible not only to defend effectively, but also to attack relatively effectively. To do this, you have to use the absolutely mind-boggling technique of dribbling the sword with the tip forward, that is, to defeat the enemy, you will have to inflict not chopping blows, but stabbing ones with a reverse grip! As far as I know, such a reverse grip technique exists only in subfight, where, as practice has shown, it looks extremely harmonious. In order to understand the basics of attacking and defending with a saber on a reverse grip, check out.

"Use of the Force" and "hand-to-hand techniques."

In contrast to the reverse grip, the issue of Power and hand-to-hand interactions of swordsmen has been worked out for a long time and densely in all currently existing groups of Star Wars fencing, so I will not reinvent the wheel and will simply share the developments that are available to date.
The use of the Force and the use of hand-to-hand techniques have one important factor in common: both have to be left imaginary, not real, in modeling. We cannot use the Force (lightning, strikes with the Force, suffocation) because we do not possess the Force, and we do not use real hand-to-hand techniques, because, for example, a full-fledged elbow strike to the eye area can deprive a person of vision. So to say, "you do not want to take risks." J
In this case, we appeal to common sense and boldly follow the well-worn path of experience of actors participating in combat productions of films. As you understand, they also do not own the Force and do not try to break each other's faces too much. At least in front of the camera. In this regard, the following modeling rules have been introduced in the subfight:

1. All punches, kicks or head strikes go without touching, that is, fencers only plan strikes in such a way that the opponent sees them and, to the best of his ability, demonstrates the result;
2. All pushes of the enemy (elbows, shoulders, hips) go in contact, but with special care: it is better to push easier than to drop a person with his head on a stone cobblestone;
3. Sweeps are done only for show, but if the enemy suddenly couldn’t jump over your sweep and contact did happen, you don’t need to really hook him so that he collapses to the ground: leave the speed and accuracy of the fall at his discretion;
4. A power strike is modeled by a sharp exposure (pushing movement) of the palm towards the enemy (as if you are stopping him) without touching, after which the enemy, at his own discretion, “flies” four meters back, pretending to lose balance, but is not obliged to fall at all;
5. Lightning is modeled by the leisurely exposition of both hands forward, palms down, with the fingers apart (perhaps slightly twisted at the same time), and the subsequent trembling of the hands, as if they were being shaken by outward energy; sometimes a one-handed lightning variant is used (with a saber held in the other hand), but this is a legacy of computer games that I do not trust;
6. Lightning Defense is played either as a Power Strike, by exposing the palm/palms forward as if you are absorbing incoming energy, or by exposing the sword in front of you as if you are taking all the energy onto the blade (this may be a showy fight, as in a Windu / Darth Sidious situation). If the protection is not set, you fall to the ground and begin to convulse, as from electric shocks;
7. Strangulation is played by putting one hand, slightly bent at the elbow, towards the throat of the opponent and bending the fingers as if you are trying to hold something close to a plum between your thumb and forefinger. The opponent, without releasing his sword, grabs his throat with both hands, stands on tiptoe and begins to allegedly suffocate. Both of you can't move.

Two lightsabers.

Fencing with two sabers is an area not covered in much detail in the films. In the entire Saga, we have only two clear examples of this style: Anakin in Episode Two and General Grievous in Episode Three. However, it is known about the first of them that Anakin then had very little knowledge of the technique of two swords and simply hoped that two swords by themselves would give him some kind of advantage in battle. In the second case, everything is complicated by the fact that, as such, the style of two lightsabers is not shown to us: we see four and three swords. Grievous has two swords only at the end of the duel, and he does not have time to use them. In addition, one should not lose sight of the fact that Grievous's arms have unique abilities: they can bend and twist relative to the forearm in any way that we, mere mortals, are not available. Despite all this seemingly small amount of information, after some research and a number of trainings, the conclusion was formed that even this is quite enough.
You probably wondered why Anakin, for example, does not block Dooku with one sword and does not strike with the second? The answer, of course, lies in the repulsion of the light blades. The fact is that when rebounding, two lightsabers have to be moved in a completely different way, as is customary in earthly fencing, in which there are really only two effective and worthwhile ways to use two swords against one opponent:

1. or blocking the opponent's blade with one of his swords with a simultaneous retaliatory blow to the unprotected part of the opponent's body;
2. or striking the enemy from two sides at the same time.

If you try to use lightsabers in this way, then somewhere on the third hit you will simply cut yourself: your swords will get tangled due to repulsion, and one of them will definitely send the second back to you. However, there is another option: your hands will be tied into such a knot that you will simply freeze like an idol for that moment while the enemy will calmly cut you. J
In order to prevent such a “horror” from happening, the technique of two sabers was created on the foundation of two fundamental skills: mirror rebound and sequential / joint movement of sabers. Everything you need to know about mirror bounce has already been said, and I recommend learning the double lightsaber technique only when you get a mirror bounce without too much thought. It will be very useful to you so as not to get confused in your own swords. Well, accordingly, so that both of your sabers do not go simultaneously in different directions relative to you, depriving you of protection, the blades must be moved either together (both of your blades all the time move parallel to each other at a short distance and, thus, almost simultaneously hit the blade of the sword enemy), or sequentially (when your two swords at the same time never appear in front of you at all: one of them always leaves so as not to interfere with the other). More, in principle, nothing is required to control two swords, except for a rich imagination and the ability to spin well on the spot and on the move (sometimes this is simply necessary).
The only reliable way to defend against two swords at the moment is recognized as a deep defense, mixed with a very clear concentration on the enemy as a whole. If you concentrate on one of the opponent's blades or try to manage to switch your attention, then the fight will end very quickly not in your favor.
For a visual representation of a subfight of two swords against one, see.

Lightstaff.

Many Star Wars fans are impressed by the polished professional grace of Ray Park, who played Darth Maul in Episode One, and many aspiring subfighters are eager to get to work as a light staff as soon as possible, not fully understanding the full range of complexities that await them along the way. . The fact is that the technique of fencing with a light staff is adapted to a much greater extent for battles with two or more opponents. Darth Maul, fighting Qui-Gon, knowingly does not activate an additional lightblade: he only gets in the way in battle against one opponent. However, I will not try to dissuade you, and if you really want to work with a light staff against one opponent (and this also applies to working against two), try not to forget the following things. Firstly, by studying the rebound of the light staff, you will immediately understand that the mutual leverage of the two blades is not so easy to use and the light staff constantly seeks to cut you yourself, not your opponent. Train, try to change the position of your body according to the situation and correctly change the vector of inertia of your light staff, so as not to harm yourself. Secondly, in order to work with a light staff, you need to master fast and harmonious turns well, unless, of course, you want total monotony of strikes. Thirdly, you, like an untrained opponent, will take some time to get used to the fact that you have two blades, and not one. I've seen people pick up a light staff and start trying to sword with it just like they would with a normal saber. Naturally, this doesn't work. J Unfortunately, my only recommendation on how to learn this sounds like this: train regularly with opponents of various sizes. Fourth, I strongly advise you to learn how to more various rotations of the sword. Lightstaff spins are usually very impressive and pleasing to the eye, giving the fight an extra edge. And fifthly, you, of course, should master the acrobatics and hand-to-hand combat of the subfight as much as possible (add Force Interactions to taste), otherwise you are guaranteed to be powerless against the same mirror rebound: the enemy will not be able to hit you, but you are unlikely to be able to slip through for his swift defense.
For an example of lightstaff swordsmanship, see. But keep in mind in advance that the light staff technique has been practiced in the Moscow Subfight Club quite recently.

Two or more opponents.

In the Prequel Trilogy, we saw three fights where one character fought two or even more opponents at the same time:

1. Darth Maul vs. Obi-Wan and Qui-Gon in Episode One;
2. Count Dooku vs. Obi-Wan and Anakin in Episode Three;
3. Darth Sidious vs four Jedi Masters in Episode Three.

And in each of these fights, one or another special technique was used. Darth Maul used the Lightstaff combined with acrobatics and superior hand-to-hand combat. Count Dooku used a curved saber hilt, allowing him to rotate his lightsaber in yet another plane and thus speed up the movement of the lightblade due to additional wrist rotation. Darth Sidious, on the other hand, perfectly combined the mirror rebound, which increases the speed in defense, with the escapes under the protection of the Jedi swords and the active use of thrusts.
In the first two cases, the ability to hold the enemy directly depended on the appearance of additional, extraordinary possibilities for using a lightsaber: duality, curvature. If you wish, you can come up with several more ways to achieve a technical advantage over the enemy (for example, in the RV, a sword was mentioned that could change the length of the lightblade on the go and make it three meters), but all of them do not matter to us. Why? Because a technical advantage is just one of the possible types of advantage. In the case of Darth Sidious, we see an example of incredible personal skill, and this is what I put at the forefront when learning how to work with multiple opponents. Personal skill is just as necessary for mastering extraordinary technologies, which often have to be learned on your own, because. originality very often requires the absence of teachers, otherwise it becomes too common and ceases to be extraordinary. However, the concept of personal excellence is too vague, too non-specific, to aim for it in general rather than something specific. The points below are characteristics that can and should be developed indefinitely, reaching the very skill that allows you to go beyond the limitation of one-on-one combat:

1. the ability to perfectly control the space around oneself: to clearly know the location of all objects, the advantages and disadvantages of any natural obstacles and slopes;
2. the ability to see all opponents at the same time: to feel the direction of their blows, to accurately calculate the distance to them, not looking back at each opponent, but looking as if into nowhere;
3. the ability to move and place the sword so that the light blades of opponents interfere with each other more than threaten you: knowledge of individual feints, the ability to correctly use clinches and rebound in your favor;
4. the ability to instantly determine the “weak link”: to understand which of the opponents is the weakest, who needs to be “get rid of” in the first place, so that he does not interfere with dealing with those who are stronger, because even an accidental strike can be successful;
5. the ability to correctly assess your strengths and not spin under the noses of opponents, if it is more reasonable to break the distance and force the opponents to separate.

Each of these points develops only through regular training with several opponents, and only when you understand that most of the things in subfight you no longer have to think about at all, that they have become natural to you, like walking. And with an example of fencing (albeit still far from perfect) against several opponents in a subfight, you can find in the next chapter.

Exercises "from and to": video materials.

You need QuickTime version 6.0 or later installed to view videos.

Exercise number 1: wave.

Before you start learning how to strike, you need to learn how to properly hold a saber in your hand. First, take a look at the illustration below: the sword is usually held by the thumb and forefinger, with the other fingers just for extra control.

Second, check out the "wave" video exercise below, which promotes the relaxation of the muscles of the hands, which is necessary for the muscles to resist the rebound.

Exercise number 7: basic rebound with movement and turns.

Turning is not as simple as it might seem at first glance. Never forget that, in principle, in a turn, a person always remains ajar, which allows a skilled opponent to deftly use his advantage. You can deprive him of this advantage only by performing these turns correctly. In this video exercise, the correct order of movement of body parts during a turn is analyzed and examples of how to correctly perform certain turns directly in battle are shown.

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Exercise number 8: "eight", "reverse eight" and "eight with two swords."

From simple to complex. If you've learned shun, then it's time to learn some more equally simple rotations, among them: "eight", "reverse eight" and "eight with two swords".

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Exercise number 9: reverse "eight" with a change of hands.

The reverse figure eight with a change of hands begins like a regular reverse figure eight, but at the moment when the saber is to your left and is clamped in your right hand, and at the moment when the saber is to your right and is clamped in your left hand, you transfer it from one hand to another. Learning this is not so easy, but the video exercise is designed to help you with this by revealing the technology for performing the feint (I recommend watching frame by frame if difficulties arise). Most importantly, make sure that the receiving saber hand is always at hand, the giving saber - this way you will avoid many technical difficulties.

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Exercise #12: Sticky Sabers.

This exercise will teach you how to hold swords without sliding the blades over each other during clinches and during combat. If you want to make this exercise more difficult, try to hit your opponent while moving the swords, without breaking the contact of the blades and without sliding on the opponent's blade.

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Footage #13: Clinches.

This video demonstrates clinches made without staging, on the go, according to the subfight clinch system. Note that in a regular training match (where there is no “camera shooting” effect), the speed and smoothness of their execution are usually higher. If you have not yet read the " " section, then do not forget to do this in order to understand the system by which the fighter has time to understand that the partner is about to enter the clinch at the moment of the fight.

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Video #14: Comparison of blocking strikes and fencing on inertia.

This material helps to visually indicate the difference between the usual for any earthly type of fencing strikes with fixation at the end and inertial strikes, on which the subfight is based.

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Exercise number 15: distance control.

This exercise provides an opportunity to lay the foundation for the ability to maintain the correct distance between you and the enemy. To get started, identify your standard hitting areas with your partner. The one with the larger standard hit area will take steps back (one step at a time). The one with the smaller standard hit area will take a step forward at the same time. The goal of the retreating is to get out of the attacker's zone of destruction, but at the same time leave him in his zone of destruction. The goal of the attacker is to prevent the retreating one from doing this, but at the same time not to come closer than necessary to hit the retreating torso with the very tip of the saber blade.
Cortosis forearms allow you to learn how to quickly and effectively change the level of your movements from high to low and back. In particular, such freedom of movement gives a sharp increase in the number of possible variations of your attacks on the enemy.

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Exercise #19: Dodge with a retaliatory strike.

Dodging back takes a lot of practice and dexterity. But in combat, it often turns out to be simply irreplaceable. You should not consider this some kind of trick or feint, but I would not recommend abusing this technique against people who are not familiar with it. It was not created in order to deceive (it is impossible to deceive a forsovik in battle, you can only surpass it in the art of combat). It is designed so that you can use all the resources of your body and threaten the enemy even when, in his opinion, you should have blocked his blow.

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Exercise number 20: control of the sword in the attack.

Control of your sword is the key to injury-free training. Believe me, no one wants to heal bruised fingers, repair broken glasses and rub bumps on their foreheads. For all its humanity, a saber can still hit a person quite painfully, so if you have not learned to control your sword, other subfighters may refuse to spar with you: senseless pain interferes with the pleasure of doing what you love, and it comes mainly from inability or from excessive cruelty.

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Exercise number 21: acrobatics.

In subfight, acrobatics, like in the films of the Saga (apart from the incredible jumps with the help of the Force), is used extremely weakly, so there are no colorful examples here. If you are especially interested in acrobatics, do not forget about capoeira: this martial art can greatly help you reach your potential.

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Footage #22: Tricks.

This video shows a variety of difficult feints carried out with the help of a saber. I strongly recommend that you deal with each of them on a frame-by-frame basis (despite the slow speed of performing these tricks during the recording of material). These feints, as I said, are quite ineffective in a real fight, and therefore it is almost impossible to find something like this in Star Wars. However, it is always nice to make such a beautiful feint before the fight. In addition, the development of these feints, of course, is very beneficial for the overall ability to control your body.

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Video #23: Reverse Grip.

This technique was developed relatively recently and is currently mastered by only a couple of people, so the reverse grip is used quite little in subfight. Let's just say that this style is not for everyone: not everyone likes it and not everyone comes easily to it.

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Footage #24: Two lightsabers.

Two subfight lightsabers is not the easiest technique, but not so difficult if you at least sometimes tried to shift the sword from your right hand to your left (if you are right-handed, of course) and gradually develop it. I myself prefer the sequential version of two lightsabers, but, as I said, this is just a matter of convenience and habit.

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Footage #25: Lightstaff.

Unfortunately, at the time of filming this material, I could not find a single person who works well with the light staff and loves this style, so I had to take on this hard work myself. Don't ask too much, I just tried to illustrate the concepts that are described earlier in the tutorial. J

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Footage #26: Two or more opponents.

As I said, the battle with two or more opponents in a subfight is separate, very not just art. At the moment, I don't consider myself a skilled enough subfighter to do this kind of thing in such a way that I myself would say: "Good and very good." However, you can find a few examples recorded specifically for the tutorial in this video.

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Video #27: examples of fights.

The last video of the section is a compilation of several fight videos. I remind you: no productions, everything was filmed at once and without preparation. And please note that people got a bit tired towards the end of the shoot (shooting for six hours in a row), so some of the movements came out slower than usual, for example, during training or in combat at role-playing games. We tried our best... J

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Afterword.

There will be no long parting words and concluding words, because. I am not a master of such speeches. J Subfight I love because it makes me feel at one with the "deadly" movements that flow through the arms and legs in a martial art dance designed for the heroes I love. And other people also like this system: it wakes up smiles on their faces and a desire to continue studying, despite the weather or personal troubles in life. However, the most important thing that motivates all of us to come to the subfight every week is that we do what gives us pleasure and do not turn this holiday and vacation into work for ourselves or others. I don't do subfighting to become a great swordsman or to "learn the secrets of the Force", though I don't see these goals as shameful or unworthy, I do it because I enjoy the world of Star Wars and the interaction with people who share a passion with me. Perhaps this is too little. Perhaps too much. The main thing is that as long as I meet people who, without taking their eyes off, absorb every movement of the characters, every turn of the sword, brought to screen perfection, and who want to share with me the joy of a duel not only of the body, but of the spirit, I I will be happy to take my saber out of the case and dive again, albeit for a short time with them, into the world of my beloved Saga, the Saga of wars among the stars...

Appendix A. Terms and slang used in the textbook.

1. "Subfight" is a swordsmanship system based on a reconstruction of the martial art of wielding a lightsaber from the Star Wars universe.
2. "Lightsaber" is an abbreviation formed for brevity and convenience from the phrase "lightsaber".
3. "Saber" is an arbitrarily chosen term for a model-reconstruction of a lightsaber.
4. "Bounce" is the main subfight concept that allows you to create Star Wars duels.
5. "Clinch" - combining the blades of swords and fixing them relative to each other to crush the enemy or carry out a feint.
6. Expanded Universe (EV) - All Star Wars content except six Episodes and the Clone Wars animated series.
7. "Forsovik" - a force user, a creature in contact with the Force.
8. "Original Trilogy" (OT) - Fourth, Fifth and Sixth episodes of the saga.
9. "The Prequel Trilogy" (Prequels) - The first, second and third episodes of the saga.
10. "ZVshnoe" is a characteristic denoting the proximity of a particular thing (a particular concept) to the concepts and style of the SG.

Appendix B. Officially Known Racks: Photographs.

In lightsaber combat, stances are of the utmost importance. They very expressively convey the philosophy and mood of the fighter. All people are aware of this information on a subconscious level, which can be decisive in the outcome of the fight. But the gradation of racks is a voluntary matter, so I will not insist on any of the possible options in order to avoid discussions, but simply give illustrations of the variety of racks that I managed to find on the Internet.

Appendix B. Forms of fencing.

As mentioned earlier, the main division of styles that the Expanded Universe offers is the division into various Forms of lightsaber wielding. All of the following information on Forms is taken from the Bob Vitas Encyclopedia. I remind you that Nick Gillard does not accept this division.

Form 0

This Form was originally defined by Jedi Master Yoda to describe Philanil Bax's lightsaber technique, but has since evolved into the basis of lightsaber combat. The simplest way to define Form 0 is the art of wielding (in the broadest sense of the word) a lightsaber that never has to be turned on. The implication of this description cannot be ignored, although it seemed rather silly to many Padawans. To protect and serve the galaxy, a Jedi must know when to light a sword for combat and when to leave it hanging from a belt. A full understanding of the situation in which this or that being finds himself is the key to knowing what is right and what is wrong. Therefore, all students who recognized the need for Form 0 and used it to find a solution that did not involve violence were truly close to the Force.

Form 1

This technique, also known as "Shii-Cho" (Shii-Cho) and "idealized form", was the simplest lightsaber duel technique. It was studied by the Jedi Knights of the Old Republic and was generally considered the first technique used by the lightsaber makers themselves. Form 1 was characterized by the use of wide horizontal side cuts and blocks with the blade pointing vertically upwards, repelling the opponent's blade during side attacks. If the attack was delivered from top to bottom and was directed at the head, Form 1 offered a simple rotation of the sword to a horizontal position and its corresponding movement along the axis up and down. Within the framework of Form 1, all the basic methods of attack and defense, zones of defeat and basic exercises were determined. In the movies she uses: Kit Fisto (Kit Fisto).

Form 2

This ancient technique, also known as Makashi, was developed at a time when pikes (spears) and staffs (staves) were still common in the galaxy. Form 2 combines fluidity of movement and anticipation of where a blow will strike, allowing the Jedi to attack and defend with minimal effort. While many Jedi historians consider Form 2 to be the pinnacle of the art of lightsaber vs. lightsaber combat, it virtually disappeared during the galactic blaster weapon era, replaced by Form 3. In the movies, it is used by: Count Dooku.

Form 3

This technique, also known as Soresu, was developed by the Jedi Knights when blaster weapons finally became the mainstream in the criminal environment. Unlike Form 2, which was designed to work against a lightsaber, Form 3 was much more effective at deflecting and defending against blaster fire. She emphasizes good reflexes and fast movement of both the sword and the body in space, which allows you to cope with the rate of fire of the blaster. At its core, it is a defensive technique that expresses the Jedi philosophy of "non-aggression" while effectively reducing body exposure. In this regard, many Jedi (especially those who practiced Form 3) realized that this technique required maximum contact with the Force. After the death of Qui-Gon Jinn by the sword of Darth Maul, many Jedi abandoned the open, acrobatic style of Form 4 and began to study Form 3 in order to minimize the risk of injury from the enemy. In the movies, she is used by: Obi-Wan Kenobi (starting from the Second episode).

Form 4

This technique, also known as Ataru, was one of the latest technology lightsaber wielding. It was developed by the Jedi Knights during the last centuries of the Old Republic. The Form 4 capitalized on the acrobatic potential and power inherent in the blade itself, and many conservative Knights and Jedi Masters viewed this approach with some displeasure. Ataru was most popular among the impatient Padawans of the time, who believed that the Jedi should become more active in the fight against crime and evil. This technique was also practiced by Qui-Gon Jinn, but his death by the sword of Darth Maul demonstrated its main weaknesses: the low level of body protection and the difficulty of using it in a confined space. Only Yoda, in particular due to his small size, achieved such speed in Form 4 that he actually provided himself with complete protection from opponent's attacks. In the movies, it is used by: Yoda, Qui-Gon Jinn.

Form 5

This technique, also known as "Shien" (or "Jem So" - see "Controversial Facts" below), was created by a group of Old Republic Jedi Masters who felt Form 3 was too passive and Form 4 was lacking. relics. They criticized the weakness of these two techniques, in which the Jedi Master can, of course, become completely protected, but at the same time he himself will not be able to do anything to the enemy. One of the many unique aspects of the Form 5 was the development of techniques to deflect blaster beams back at the enemy. Many Jedi Masters have disputed the correctness of the Form 5 philosophy, arguing that it overemphasizes harming others. Others, however, have argued that Form 5 is merely a way to "achieve peace through superior firepower." In films, it is used by: Anakin Skywalker, Luke Skywalker, Darth Vader.

Form 6

This technique, also known as Niman, was one of the most advanced lightsaber techniques. During the Battle of Geonosis, the Form 6 was the most common among the Jedi. It relied on the average use of Forms 1, 2, 3, 4, and 5. Many Jedi Masters referred to it as a "diplomatic technique" due to the fact that Niman's followers used their knowledge of political relationships and negotiation techniques (along with the power of their own perception) to achieving the most peaceful solutions without bloodshed. Many Jedi who are really good at Form 6 have spent at least 10 years prior to this learning the above four Forms. However, many masters considered such actions a waste of time, believing that such a high level of swordsmanship would not be required for the battles of that time. But apart from everything else, it is the mastery of Niman that is the first step to comprehend Jar-Kai, the technique of using two lightsabers. In the movies, Nieman uses: most of the dead Jedi in the arena of Geonosis.

Form 7

This technique, also known as Juyo, was the most demanding technique ever developed by the Jedi. Only by learning a few other Forms can a Jedi begin his journey to understanding Form 7. It required such combat training that even the training itself brought the Jedi very close to the dark side of the Force. Jedi Master Mace Windu studied Form 7. To become a Form 7 Master, a Jedi had to use vigorous movement and kinetic strikes. Form 7 uses overwhelming power and a series of movements that are not logically connected to each other, movements that constantly deprive the opponent of the normal opportunity to defend. In the movies, she is used by: Darth Maul.

Vaapad

This technique was developed by Mace Windu with input from Sora Bulk shortly before the start of the Clone Wars. It was named after the animal "vaapad" from the planet Sarapin, whose tentacles move with such lightning speed that it is virtually impossible to follow them with a glance. Vaapad is a combination of aggressive maneuvers and falls into the category of Form 7. Even training in the study of Vaapad is so close to the dark side of the Force that they have been forbidden to study by anyone except Jedi Masters. For Master Windu and his student Depa Billaba, Vaapad was not just a swordsmanship technique: for them it was a state of mind in which the fighter, in order to defeat the enemy, opened himself to the Force so completely that he absorbed power from both the light and the dark side. Forces. Vaapad uses the joy of going into battle, the battle rage, which comes very close to the dark side. This technique requires great concentration on the paths of the light side that keep the practitioner on the fine line. Sora Bulk, like Depa Billaba, could not stand the demands of Vaapad and fell to the dark side. In the movies she uses: Mace Windu.

Sokan

This technique was developed by the Jedi Knights in antiquity. She combined the kinetic moves of Form 4 with tactics that increased her mobility and dodge ability. Invented during the Great Sith War, Sokan was built around quick movements and flips, combined with swift lightsaber thrusts aimed at the enemy's vitals. The battles in which the participants used the Sokan technique were often fought over a fairly large area, because the opponents constantly tried to put each other in the most vulnerable position.

Jar "Kai"

Jar-Kai is a technique for using two lightsabers at the same time. When working in this technique, one of the swords is used for attack, and the other for defense. However, both swords can be used to create more complex offensive maneuvers. Master Maruk said that those who practice using two lightsabers usually soon become over-reliant on their weapons. Many Jedi attempted to study Niman in order to master the art of the Jar-Kai, but only a few fully succeeded.

Trakata

This technique of lightsaber combat was used by literally a couple of the most powerful strikers. When using this technique, the attacker clutches the lightsaber in his hand, but does not activate it. With the help of the Force, he moves and defends himself from enemy attacks, waiting for that one moment when he can quickly turn his sword on and off, bypassing the enemy’s defenses and hitting him. This technique is incredibly complex and requires great skill in the Force.

Other

There are several other, more specific Forms. For example, the technique of General Grievous, which comes from his unique ability to rotate his arms in different planes and an additional pair of hands. Edie Gallia also has a unique technique, which actually fights in Form 5, but at the same time holds the sword with a reverse grip.

lightsaber- a very versatile weapon with a unique lightness and the ability to cut in any direction. It can be easily wielded with one hand, but the Jedi have always been trained to wield the sword both with both hands and with each hand separately, in order to be ready for any situation. The early years of the weapon's history, when the Sith were numerous, saw the heyday of the art of lightsaber dueling. In later periods, the Jedi rarely encountered an enemy with a weapon capable of deflecting a lightsaber. Self-defense against blasters and other energy weapons was taught to them early in their training. While a skilled Jedi could use his sword to deflect a blaster shot back at an opponent, non-energy projectiles (bullets, for example) were simply completely split by the blade.

The Jedi were trained to use the Force as a link between a fighter and his weapons. Through this connection to the Force, the blade became an extension of their nature; he moved instinctively, as if he were part of their body. The Jedi's harmony with the Force was responsible for the almost superhuman agility and reflexes that manifested in the wielding of a lightsaber.

Since the invention of the lightsaber, the Jedi have developed a variety of styles, or combat forms on lightsabers that correspond to the unique features of the sword and its connection with its owner.

fencing forms

Form 0

This Form was originally defined by Jedi Master Yoda to describe Philanil Bax's lightsaber technique, but has since evolved into the basis of lightsaber combat. The simplest way to define Form 0 is the art of wielding (in the broadest sense of the word) a lightsaber that never has to be turned on. The implication of this description cannot be ignored, although it seemed rather silly to many Padawans. To protect and serve the galaxy, a Jedi must know when to light a sword for combat and when to leave it hanging from a belt. A full understanding of the situation in which this or that being finds himself is the key to knowing what is right and what is wrong. Therefore, all students who recognized the need for Form 0 and used it to find a solution that did not involve violence were truly close to the Force.

Form 1

This technique, also known as "Shii-Cho"(Shii-Cho) and "idealized form", was the simplest lightsaber combat technique. It was studied by the Jedi Knights of the Old Republic and was generally considered the first technique used by the lightsaber makers themselves. Form 1 was characterized by the use of wide horizontal side cuts and blocks with the blade pointing vertically upwards, repelling the opponent's blade during side attacks. If the attack was delivered from top to bottom and was directed at the head, Form 1 offered a simple rotation of the sword to a horizontal position and its corresponding movement along the axis up and down. Within the framework of Form 1, all the basic methods of attack and defense, zones of defeat and basic exercises were determined. In the movies, Kit Fisto uses it.

Form 2

This ancient technique, also known as Makashi(Makashi), was developed at a time when poles and staves were still common in the galaxy. Form 2 combines fluidity of movement and anticipation of where a blow will strike, allowing the Jedi to attack and defend with minimal effort. Although many Jedi historians consider Form 2 to be the pinnacle of the art of lightsaber vs. lightsaber combat, it virtually disappeared at the start of widespread use of blaster weapons in the galaxy, giving way to Form 3. In the films, it is used by Count Dooku.

Form 3

Soresu(Soresu), was developed by the Jedi Knights when blaster weapons finally became mainstream in the criminal environment. Unlike Form 2, which was designed to work against a lightsaber, Form 3 was much more effective at deflecting and defending against blaster fire. She emphasizes good reflexes and fast movement of both the sword and the body in space, which allows you to cope with the rate of fire of the blaster. At its core, it is a defensive technique that expresses the Jedi philosophy of "non-aggression" while effectively reducing body exposure. Because of this, many Jedi (especially those who practiced Form 3) realized that this technique required maximum contact with the Force. After the death of Qui-Gon Jinn by the sword of Darth Maul, many Jedi abandoned the open, acrobatic style of Form 4 and began to study Form 3 in order to minimize the risk of injury from the enemy. In the movies, it is used by Obi-Wan Kenobi (starting in Episode 2).

Form 4

This technique, also known as "Ataru"(Ataru) was one of the newest lightsaber techniques. It was developed by the Jedi Knights during the last centuries of the Old Republic. The Form 4 emphasized acrobatic potential and the power inherent in the blade itself, and many conservative Knights and Jedi Masters took this approach with some displeasure. Ataru was most popular among the eager Padawans of the time, who felt that the Jedi should become more active in fighting crime and evil. This technique was also practiced by Qui-Gon Jinn, but his death by the sword of Darth Maul demonstrated its main weaknesses: the low level of body protection and the difficulty of using it in a limited space. Only Yoda, in particular due to his small size, achieved such speed in Form 4 that he actually provided himself with complete protection from opponent attacks. In films, it is used by: Yoda, Qui-Gon Jinn, Darth Sidious.

Form 5

This technique, also known as "Sheehan"(Shien) (or "Jem So") was created by a group of Jedi Masters of the Old Republic who felt Form 3 was too passive and Form 4 lacked power. They criticized the weakness of these two techniques, in which the Jedi Master can, of course, become completely protected, but at the same time he himself will not be able to do anything to the enemy. One of the many unique aspects of the Form 5 was the development of techniques to deflect blaster beams back at the enemy. Many Jedi Masters have disputed the correctness of the Form 5 philosophy, arguing that it overemphasizes harming others. Others, however, have argued that Form 5 is just a way to "achieve peace through superior firepower." In films, it is used by: Anakin Skywalker (later - Darth Vader), Luke Skywalker.

Form 6

This technique, also known as "Nieman"(Niman), was one of the most advanced lightsaber techniques. During the Battle of Geonosis, the Form 6 was the most common among the Jedi. It relied on the average use of Forms 1, 2, 3, 4, and 5. Many Jedi Masters referred to it as a "diplomatic technique" due to the fact that Niman's followers used their knowledge of political relationships and negotiation techniques (along with the power of their own perception) to achieve the most peaceful solutions without bloodshed. Many Jedi who are really good at Form 6 have spent at least 10 years prior to this learning the above five Forms. However, many Masters considered such actions a waste of time, believing that such a high level of swordsmanship would not be required for the fights of that time. But above all, it is skill in Niman that is the first step to comprehend Jar-Kai, the technique of using two lightsabers. In the films, Niman uses most of the fallen Jedi in the Geonosis arena.

Form 7

This technique, also known as "Juyo"(Juyo) was the most demanding technique ever developed by the Jedi. It is only by learning a few other Forms that a Jedi can begin his journey to understanding Form 7. It required such combat training that even the training itself brought the Jedi very close to the dark side of the Force. Jedi Master Mace Windu studied Form 7. To become a Form 7 master, a Jedi had to use vigorous movement and kinetic strikes. Form 7 uses overwhelming power and a series of movements that are not logically connected to each other, movements that constantly deprive the opponent of the normal opportunity to defend. She is used in films by: Darth Maul, Darth Sidious.

Vaapad

This technique was developed by Mace Windu with input from Sora Bulk shortly before the start of the Clone Wars. It was named after the animal vaapad from the planet Sarapin, whose tentacles move with such lightning speed that it is virtually impossible to follow them with a glance. Vaapad is a combination of aggressive maneuvers and falls into the category of Form 7. Even training in the study of Vaapad is so close to the dark side of the Force that they have been banned from anyone but the Jedi Masters. For Master Windu and his student Depa Billaba, Vaapad was not just a swordsmanship technique: for them it was a state of mind in which the fighter, in order to defeat the enemy, opened himself to the Force so completely that he absorbed power from both the light and the dark side . Vaapad uses the joy of going into battle, the battle rage, which comes very close to the dark side. This technique requires great concentration on the paths of the light side that keep the practitioner on the fine line. Sora Balk, like Depa Billaba, could not stand the demands of Vaapad and fell to the dark side. In the movies she is used by: Mace Windu.

Sokan

This technique was developed by the Jedi Knights in antiquity. She combined the kinetic moves of Form 4 with tactics that increased her mobility and dodge ability. Sokan, invented during the Great Sith War, was based on quick movements and flips, combined with quick lightsaber thrusts aimed at the opponent's vitals. The battles in which the participants used the Sokan technique were often fought over a fairly large area, because the opponents constantly tried to put each other in the most vulnerable position.

Jar "Kai"

Jar-Kai is a technique of using two lightsabers at the same time. When working in this technique, one of the swords is used for attack, and the other for defense. However, both swords can be used to create more complex offensive maneuvers. Master Jai Maruk said that those who practice two swords usually soon become over-reliant on their weapons. Many Jedi have attempted to study Niman in order to master the art of the Jar-Kai, but few have fully succeeded.

Trakata

This technique of lightsaber combat was used by literally a couple of the most powerful Jedi. When using this technique, the fighter clutches the sword in his hand, but does not activate it. With the help of the Force, he moves and defends himself from enemy attacks, waiting for that one moment when he can quickly turn his sword on and off, bypassing the enemy’s defenses and hitting him. This technique is incredibly complex and requires great skill in the Force.

Jar "Kai is a technique for working with two lightsabers at the same time. In primitive work in this technique, one of the swords is used to attack and the other to defend. With a higher skill level, both swords can be used to create more complex attacking and defensive maneuvers. Master Jai Maruk said that those who practice dual-wielding usually soon become over-reliant on their weapons.One of the ancient Jedi Master Troy always sought to master it, but fell during the Mandalorian Wars due to its shortcomings.

In fact, it is the Niman style that is the first step towards comprehending Jar "Kai. Many Jedi tried to study Niman in order to master the art of Jar' Kai, but only a few succeeded in full. But, since Niman, in fact, is a combined hodgepodge of all the other styles, then, in principle, we need a good knowledge of the Classical style and good coordination.

Why coordinate? Oh, without coordination of movements, it is almost impossible to normally perform asymmetrical strikes with the right and left swords - and without this, Jar "Kai is used somehow halfway.

No, of course, you can use the sword in the second hand only for blocks, but then we actually limit ourselves to a primitive version of the Makashi style - therefore, if you don’t have at least three months of experience in fighting with one saber, you shouldn’t take it, because the results will be lower than with one sword. But, if you have experience - why not?

So, Jar Kai practice . The most important - not forget about the second hand, about the fact that there is also a sword there. Because most likely, the main part of the movements will be performed by the "main" hand, and the second will somehow passively dangle like a dead weight. Therefore, it is necessary to forcibly connect the second hand to work. There is nothing for her to take off.

Also, with the second blade, it is quite safe to strike from a roundhouse - with the second blade we inflict chopping behind the back, so that no evil one tries to approach us from there. We apply them with a turn of the body, while it is better to turn the turn in an arc step.

About the grip. We are not going to exaggerate by inventing all sorts of reverse and "semi-reverse" grips, but we will take both sabers with a normal straight grip. So our hand is more natural, and the total threat distance is greater, and there is no need to twist the brushes.

So, we figured out the weapons. As for the conduct of combat, by choosing two swords, in no case should we think that we are inferior to the enemy in the threat distance. This is so only if we have one-handers, and the enemy has a two-hander, that is, weapons of incomparable classes. In fact, Jar "Kai even gives some advantage in the attack distance - you can carry out risky deep strikes without fear of a counterattack - after all, there is a second sword, they can block this very counterattack.
The same goes for the speed of attacks - two sabers will not yield to the staff, and even surpass it. Even symmetrical strikes are hard to block if they come from different directions. And if with one, then the enemy can generally push the sword out of his hands.
Defense with two blades is simply obliged to smoothly transition into an attack. But relying on the fact that by blocking the enemy's blow, it will be possible to immediately kill him, is not worth it. As a rule, the enemy is not inclined to wait until he is slaughtered, especially when he sees two sabers, and as a result, he expects this very step. But still, there is no need to upset the enemy - and we strike with the second saber. And then first. And then second again. And further. The adversary will simply be forced to go on the defensive, and the defensive position is rarely victorious, because the defender has given up the initiative.
Separately - about asymmetric strikes. Blocking them is very difficult, however, as well as performing. But competent independent work with two blades will lead to the loss of important parts of the enemy’s body - because he simply will not have time to cover the entire carcass.

So, despite some difficulty in mastering, Jar "Kai is one of the most effective styles.

movements

Again, Jar "Kai is too complex and diverse to describe all the movements in detail - for each is unique. But, let's try to highlight the basics:

Welcome desk, part-time - protective

And this is already a basic stance, from which it is equally easy to attack and defend

"Iron" block crosswise, able to withstand even the strongest blows. The cross is tilted so that the enemy sword "hit" in its center.

From the cross block, lowering the hands, a "scissors" strike is carried out.

Then we move into a double kick from above, and return to the basic stance.

If the enemy tried to attack, then we block the blow with one sword, and with the second prick / chop the adversary.

From the base stance, turning the hands, we start asymmetric strikes

And we continue

And here is the rack for roundhouse kicks. They usually begin with such a blow when turning the body.

Or we turn into two insidious roundhouse kicks. First green, then red on top.

We come to such a position, well, we strike. First red, then green.

We continue our attack. however, here I threw the weapon to the other side, this helps to surprise the enemy.

If the enemy is still alive, we will show him the "cato of a false retreat." Few people use them. From the base stance we take a step back, turning sideways at the enemy - he will perceive this as the beginning of our flight (therefore, we must do everything very quickly so that the enemy does not understand the plan) - and in the meantime we bring our hands together with scissors, and begin a turn.

You can start to stab now (red slash), but I prefer to build up speed and then deliver a faster slash.

If the enemy contrives to counterattack (which is unlikely), we shoot down his sword with the middle of our own, bringing his hand out from behind his head (red). Or, turning the hand, and continuing the turn with the body, we apply very quick strike (yellow).

We come to this position, and immediately we lead the blades back, not allowing the enemy to come to his senses.

The finale, if the enemy is already broken, you can beautifully finish him off with stabs. And if he is still alive, we continue the attack.

Here, in general, and all that is common. But Jar "Kai gives an almost infinite number of combinations of blows, so go ahead, to victory! Remember - two swords are not inferior to one in anything, they surpass it!

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