Dojo Darelir, the School of Xenograg the Sorcerer

Posts Tagged ‘WH40K’


Blinkblades

He swung his fist at my head.

It seemed the wild thrash of a desperate man, but it was not impulsive. I had fought, and been schooled in fighting, enough to read the blow, and the fact that it was not telegraphed. There was no micro expression of warning, of prior tension or bracing. It just came, expert and fluid. Just as fast, I dipped down to avoid it. But even as I did so, I was puzzled, for it was not a blow that anyone would strike with the hand, especially not a man who was clearly proficient. The move was more a sword-stroke, aimed at the side of my neck. Why strike so, with a fist?

All this I relate now in a hundred, perhaps a thousand, times the instant it took for the blow to come. It was fast, and I barely avoided it.

And in avoiding it, I found my answer.

A sword’s blade missed my head and buried itself in the side of the old clavier. It buried itself deep. The impact shook the instrument, and knocked over the glasses of amasec standing along its top.

There had not been a sword in his hand a half-second before. There had not been a place for him to conceal a sword. It had just appeared in his grip….

…His sword, which had come from nowhere as if by magic, was a blinkblade. I had never seen one, but I had read of them…. They were blades held in scabbards of what I now know is called extimate space. Bidden by their masters, they appear in corporeal reality, conjured from pocket-space….

Dan Abnett, Penitent, Chapter 16

The Armour of Contempt

Chaos claims the unwary or the incomplete. A true man may flinch away its embrace, if he is stalwart, and he girds himself with the armour of contempt.” — Gideon Ravenor, The Spheres of Longing

Dan Abnett, His Last Command

The Art of Axe-fighting

Axe-fighting was a complex and demanding dance. It looked much more brutal and simplistic than sword-work, but in some respects it was vastly more subtle than the ballet of the swordsman. The killing edge of an axe was in a position to harm an opponent for a much smaller percentage of engagement time than the killing surfaces of a sword. Axe fighting was about swinging and circling, moving and evading, choosing the moment to land the blow. It was about seeing that opening coming three or four steps ahead, like a good [chess] player, and then taking advantage of it without telegraphing the stroke. It was about predicting the interface between swing and moving target. Misjudge that, and you’d lose the fight.

Dan Abnett, Prospero Burns, chapter 12