Kicks in Pugilism??
Although there are a multitude of kicks used within pugilism, including round-house, front and stamp kicks, they are much less common than punches and other strikes. For a fighting discipline that has little to no rules, it may seem strange that kicks are rarely used. Well, there is a reason, and here is why!
One of the key differences that sets pugilism apart from other striking martial arts, is that the bare fist is used. This can lead to serious injury to the aggressor, if a punch, when thrown, strikes the opponent’s head. A broken fist or wrist will lose you a fight, and so punches, for the majority of the fight, will instead be aimed at the body.
The body being a much softer target to strike, allows powerful blows to be used with confidence, and at little risk of injury. However, to strike at your opponent' body with punches, recquires you to be at very close range.
Normally punches aimed at your opponent’s head, can be thrown at your full reach, however to strike at your opponent’s body at said range, would require you to overreach and throw your punches with a downwards angle. Not only is this detrimental to the power of the strike, but it forces your guard to open up, exposing you face to your opponent. Strikes of this nature are simply put, easily countered, and offer little to your own offence.
Instead, for body punches to be effective, you must be well within your own reach, allowing for more level and even upright strikes (hooks and uppercuts) to be thrown. This allows you to get your bodyweight behind your punches, maximising power.
Up close and personal, just the way we like it!
As such, kicks are rarely seen within pugilism, simply because the fighters are typically too close to one another to use them. As the fight waxes and wanes, there will of course be moments when the fighters will be at range to one another, this being the point where we see kicks being used. But, pugilstic encounters are intense affairs! And the fighters will quickly re-engage at close range.
Anything to Win - The Ultimate Fighting Manual
This is an upcoming training manual, written by Alastair Devlin.
The aim of this manual will be to collect all the main fighting techniques from pugilsim of old, during the period of the Broughton ruleset. With the mindset of the fighters from this period being:
"Anything To Win"
No rules, no mercy. This fighting manual is the most complete and functional "Street Defence" training manual ever made.
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#OTD in 1969 – Bernadette Devlin, a newly elected MP, made a controversial maiden speech in the House of Commons.
I understand that in making my maiden speech on the day of my arrival in Parliament and in making it on a controversial issue I flaunt the unwritten traditions of the House, but I think that the situation of my people merits the flaunting of such traditions.
I remind the hon. Member for Londonderry (Mr. Chichester-Clark) that I, too, was in the Bogside area on the night that he was there. As the…
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Episode 302: As dead as Jeremiah Collins
When new writers start working on Dark Shadows, they do some inventorying of ongoing and disused storylines. When Ron Sproat came aboard in November of 1966, he contrived a lot of scenes that served to mark storylines as “To be developed” or “To be discarded.” Now Gordon Russell has begun to be credited with scripts. He addresses continuity questions with brief lines of dialogue.
For example,…
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Comics Read 7/18- 31/2022
I recently read two trade paperbacks I have had for over a year. I got them for familiarity with the authors and brand loyalty reasons. It’s harder to draw a direct notes of autobiography to these than what I read in the past couple of entries. So I am going to go straight into a discussion.
First up is Tomorrow written by Peter Milligan with art by Jesus Hervás and colors by James Devlin. I know Milligan is pretty controversial writer, but I often find myself surprised by how much I like his work, so I keep seeking it out. The plot involves a virus that leaps from the internet and kills almost all the adults in the world. But the book seems uninterested in the virus and most of its online origin. At first I was disappointedly comparing it to Milligan’s earlier, (sadly truncated) comic New Romancer, about a modern day computer programmer for a dating site accidentally bringing Lord Byron, Ada Lovelace and Cassanova into the modern world. There is a video game called Tomorrow within the comic, and the game’s creator is one of the main characters. This seems like something that would tie into the larger “how did we get here?” plot, but it doesn’t. But then I thought maybe Milligan wanted the readers to just bring our own online experiences of dehumanization and outbreaks of violence. The larger question of how are we rearing children by rearing them online? From my time on Twitter, there I often see an oscillation between “the children will save us!” and “the children really don’t know how to screen for misinformation and it’s getting worse!” By the end of Tomorrow, thinking about this was really resonating to me.
Even with this interpretation, I don’t think the comic really works. The scenes of violence often feel gratuitous. There are too many characters with too little interaction to really get invested. And there are just too much dialogue about race and sex that is cringe inducing. Its depiction of neurodiversity, which is tied to the plot, is also bad. It feels like it was created for some kind plot points, but little sense of lived experience. Two the the characters are a set of fraternal twins. The boy is portrayed as being on the spectrum. The girl isn’t. They are physically cross country from each other when the plague hits, but they have a real twin psychic connection. This gets severed by the social events that happen in the plot. It feels like there is an idea there worth exploring. But it isn’t really done in this comic. The plot here sort of stops. There isn’t even rushed wrap up like there was in New Romancer. I don’t know if there were or are plans for a follow up arc, but I don’t really want more. There was a plot involving a corporate retreat that I just couldn’t care enough about to remember from issue to issue. I also really disliked the art. It’s over detailed in a way that keeps things from coming together. I read in the the bio that Hervás trained as an engineer. It reminded me of some architects vs. engineer debates, with engineers likely to dismiss architects as just there to pretty up their scientific work. I am familiar with the work of a couple of trained artists turned comic book artist, Gabriel Rodríguez and Mikel Janín. Based on these comparisons alone, architecture is better training for switching into comic book art.
My next read was The Low, Low Woods, written by Carmen Maria Machado, with art by Dani, and colors by Tamra Bonvillain. This, like The Dollhouse Family, is another example of comics under the Joe Hill curated Hill House Comics published under DC’s Black Label imprint. Now that I have read three of the titles, I have to say how impressed by how different these horror comics all are in their styles, settings type of stories they tell. I also have to start by saying I really like Dani’s art. This isn’t just in comparison to having read a comics where I hated the art, directly before it. That comparison really made me appreciate how Dani knows when to leave things more suggested than filled in. The art is evocative and moody. In some ways it reminds me of Eduardo Risso, though with a fair helping of early Sandman artists like Mike Dringenberg. This befits the mid nineteen nineties setting.
The comic takes place in the fictional coal mining town of Shudder-to-Think, Pennsylvania and concerns two teenage girls trying to figure out about some lost time at the movies as well as the other strange parts of their town such as the skinless men in the woods. Things that everyone knows about but no one talks about. Starting with the town’s name there are a lot of places with names that would be too on the nose if it wasn’t about familiarity creating blind spots.
Last year I read Machado’s memoir, In the Dream House, about recognizing that she was in an emotionally abusive lesbian relationship and the need for representation of the bad aspects in life. There are similar themes here, with less academic citing and more supernatural occurrences. In part of the In the Dream House she discusses how the stress of that relationship affected her writing style, making her out put mostly fragmentary. The initiating incident of known memory loss does create a stress in the characters life that complements the one she described in her memoir. I definitely intend to read more of her writing.
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