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Guy frequently keeps this blog updated with thoughts, challenges, interviews and more!

Tag: crowdfunding

Without doubt the best rapier duel in cinematic history is the one between Inigo Montoya and the Man in Black at the top of the Cliffs of Insanity, in The Princess Bride (1987). To celebrate breaking 10,000€ on my recent crowdfunding campaign, I told my backers I would put up a video of how the duel might have gone if the fight directors, cinema legends Peter Diamond and Bob Anderson, had actually followed the dialogue, and been versed in historical swordsmanship. (Please note, this is a thank-you, not a stretch goal. An important distinction in crowd-funding matters.)

The dialogue is, I think, the earliest reference to historical fencing masters in film. Here it is:

Inigo: “you are using Bonetti's defence against me, huh?”

MIB: “I thought it fitting considering the rocky terrain.”

Inigo: “Naturally, you must expect me to attack with Capoferro!”

MIB: “Naturally. But I find that Thibault cancels out Capoferro.”

Inigo: “Unless your enemy has studied his Agrippa!” [does great big somersault] “Which I have!”

Thus inspiring a legion of potential historical fencers to look up Bonetti, Capoferro, Thibault and Agrippa. Huzzah!

However, the actual choreography turns out on further study to bear no resemblance whatsoever to the fencing methods of the historical masters in question. This should come as no surprise, given that the goals of stage and screen combat are that no-one should die, and everyone should see what is happening: and the goals of real combat are to kill the enemy, which is best accomplished if no-one can see what’s going on. There are skills common to both, of course, such as control of measure and weapons handling, but the core intent could not be more different.

This begs the question: how does Thibault cancel out Capoferro?

As students of The Book (whichever source we are trying to recreate), it might be a good idea to also check the original source. The Princess Bride, first published in 1973, was a book for 14 years before it was a film.

Written by William Goldman, it is, as one might expect, even better than the movie. 

So, from the 1998 edition (pp 130-135) here are the actual references:

“They touched swords, and the man in black immediately began the Agrippa defence, which Inigo felt was sound, considering the rocky terrain, for the Agrippa kept the feet stationary at first, and made the chances of slipping minimal. Naturally, he countered with Capo Ferro, which surprised the man in black, but he defended well, quickly shifting out of Agrippa and taking the attack himself, using the principles of Thibault.

Inigo had to smile. No one had taken the attack against him in so long, and it was thrilling! He let the man in black advance, let him build up courage, retreating gracefully between some trees, letting his Bonetti defence keep him safe from harm.”

Quite different, I’m sure you’ll agree. But this was 40 years ago, long before the resurgence of historical swordsmanship in the 90s: where was Goldman getting his information? The next reference is also interesting:

“Inigo … was not entirely familiar with the style of the attack; it was mostly McBone, but there were snatches of Capo Ferro thrown in…”

I assume McBone is McBane (though why the change when the other masters are spelled normally: a little joke, perhaps?); has Goldman read Aylward’s The English Master of Arms? I would love to buy him a drink and ask him.

But anyhoo, and without further ado, here is the video:

And for those of you interested in how rapier fencing was really done: you might enjoy my book, The Duellist's Companion.

And if you're interested in recreating historical swordsmanship from historical sources, you might find my course useful. See you there!

Feel free to share this with your swashbuckling friends!

 

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Are you thinking about starting a crowdfunding campaign? Then this post is for you.

Crowdfunding is both an extremely useful and effective way to raise funds for a project, and a deadly trap in which your reputation can be permanently destroyed. It is also a rather new development, and therefore many people are trying it for the first time. Which may be why, so far, only 43.5% of Kickstarter projects have succeeded, and, according to this article, less than 10% of Indiegogo campaigns (my platform of choice) make it. I have run four campaigns so far, with gradually increasing success: my first “failed”, raising only 37% of its target; my second raised 102%, my third, 249% and my current one  has two weeks left to run and is already at 489%. [Update: it finally raised 13,510€, 676% of its goal, and the book was published in July.] I am planning a series of blog posts about what I have learned along the way. As with any art, there are fundamental principles and specific skills. I will outline the principles here, and cover the skills in later instalments.

There are lots of different platforms (Indiegogo, Kickstarter, Funded By Me (see here for a helpful list)); types of campaign;  types of funding; and so on. In this my first post on the subject I thought I'd start with the foundation that is common to all successful crowdfunding campaigns regardless of type or platform. Three basic principles that if you put them first, will dramatically help your campaign succeed, and even if it should it fail, follow these guidelines and the failure will do you no harm. I cannot overstate the importance of this last point: run a campaign badly and any future efforts will also fail. Run it well, and even if it fails, you can pick yourself up and try again with no harm done.

The three principles of successful crowdfunding as I understand it are:

1) Transparency

2) Credibility

3) Value.

Let's take them one at a time.

Transparency

This is where it all starts. You must be completely open and honest about what your project is about, who you are, what you are doing, what mistakes you make, everything. Your potential backers will recognise transparency in the way you present the campaign, which will enhance your credibility; they will also reward transparency with trust when you make mistakes, fail to meet obligations, or in any way err. And you will err, often and publicly, if you are a) human and b) doing something new. You can survive almost any mistake, so long as it is a) honest; b) you are transparent about it; c) you apologise; and d) you offer restitution. For a trivial but amusing example: I wasn’t 100% sure we would get the pdf version of my game, Audatia, out on the deadline of 20th March. So I promised 10 push-ups for every day we were late. We were a day late. Here are the push-ups.

Warn your backers immediately of any likely delay or problem; imagine the worst-case scenario; estimate accordingly, and be transparent about your progress. People hate being kept in the dark more than they hate being let down.

Credibility

You need to establish not only that your project is way cool, but also that you (or your team, ideally) are able to make it happen. So, credibility is about three things:

1) your skillset

2) your ability to raise the funds

3) your ability to execute the plan in the time and with the money specified.

Your skillset must be clearly sufficient for the task in hand. Let’s take this example: the Roost. The video here shows the designer physically making the high-tech laptop stand. No question about his skills. Or here: the choose your own adventure Hamlet. The video makes it 100% clear that this chap can do what he says he will do. For my own projects; nobody would doubt my ability to write a decent book and get it to market, nor teach swordsmanship. But when we were raising funds for Audatia there was no reason to believe I could design a card game, and quite right too. I couldn’t. But we didn’t go live until we had a playable draft of the game; the campaign was not for me to make a card game: it was to pay for the artwork and printing. Just to make sure, we had draft artwork for some cards already. Backers could see what artwork they would be getting. No credibility problem.

People generally won’t back a campaign that they think won’t make its target, so setting a realistic goal works both ways. You must raise enough money to get the job done, or you end up bankrupt, credibility shot to hell. But if your target is too high, people will be reluctant to back it because they don’t want to get on board a disappointing train. We had this problem with Audatia: the goal was 23,000€. That’s a lot of money for a first-time game company. We could see on message boards etc that there were people who wanted the game but thought we’d never hit such a high target, and so didn’t back us until after we crashed through it. I’ll deal with the art of goal-setting in a separate post, but bear in mind here: your goal must be credible on both fronts: enough to get the job done, but not unrealistically (incredibly?) high.

Then you have to lay out for your backers how this money is enough, combined with your skillset, to make good on your promises. Your personal credibility is at stake.

Value

Ultimately, your campaign is selling something. It could be a physical product, a service, or a feeling of creating a better world. Whatever it is, you have to offer value. A reason for people to buy your thing now. A great example of this is giveaways to backers only; sure, you can buy this in the shops in a year’s time, but our backers not only get it first, they also get this other cool stuff. Wait to buy my longsword book, sure, it’ll be on Amazon by July. But buy it now and you also get most of my back catalogue as free ebooks, and a whole new book not yet published. Good value, if you like swordy books. [Update: This is no longer available, of course.]

For most backers, in my experience, the key added value is that they become part of the process. You, the artist, producer or whatever, need them to make it happen. Your magic widget or fabby-do zombie film, cannot happen without them. They get to be Lorenzo dei Medici, you the humble artisan (eg Michaelangelo). Be sure to let them know that you need them. It’s the truth, after all.

At the moment, I am getting on with making good on my campaign promises (we are working on fulfilling one of Audatia’s stretch goals right now, the Lady Deck, and I’m editing Swordfighting for Writers, Game Designers and Martial Artists), and so am not writing the next Crowdfunding post just yet. While you are waiting for the next instalment, you might find these other resources on the subject useful.

Tim Ferriss: how to raise 100,000 in 10 days… well, maybe! Lots of useful stuff here though.

Wikihow: not a bad place to start.

Indiegogo‘s own “playbook”.

Plastic Hallway: how not to do it! Some good advice.

If you enjoyed this post or found it useful, please share it with your friends by hitting one of the buttons below. The speed at which the next post on this subject (how to set your perks for maximum effect, which is the blackest of black crowdfunding arts) gets written up, will be proportional to the number of hits this one gets.

Thanks for reading, and for sharing!

Free Sample of The Duellist's Companion

Like Rapiers? Sign up here to join Guy’s mailing list and get a free guide to the different types. You can unsubscribe at any time. Please check our privacy policy for details of what we will do with your data. The short version: send you emails about interesting stuff, and nothing else.

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Greetings! You may be thinking about pre-ordering my new longsword book through the Indiegogo campaign. In case you're wondering what the book contains, you can see the table of contents on the campaign page. Here is an example of one of the dozens of drills, with its accompanying photos.

The Exchange of Thrusts:

Fiore’s instruction is to step out of the way and pass across the line, and with your point high and your hands low, cross his sword and strike him in the face or chest (this is the ninth play of the second master of  zogho largo).

  1. Wait in tutta porta di ferro, attacker in the same guard.
  2. Attacker thrusts to your stomach;
  3. Pick up your point and cross his sword (middle to middle, edge to flat), hands stay low;
  4. Step your front (left) foot out of the way (to the left— this pushes his point further away from you);
  5. And pass across (so, diagonally left), thrusting to his face (no need to lift your hands: keep them low!)

Do this in one smooth motion: it feels like a simple strike that happens to collect his attack. But beware— it is critically important to make sure of your cover before passing in. Otherwise you eat steel.

The drill continues with what to do if you miss your strike.

The images below are uncropped, and at much lower resolution for browsing convenience. Most of the costs of publishing the book are in layout, which will be beautiful!

Jukka (on left) waits for Joni’s thrust
Jukka (on left) waits for Joni’s thrust

 

Joni attacks;
Joni attacks;

 

Jukka parries,
Jukka parries,

 

while stepping off the line;
while stepping off the line;

 

and strikes, passing across while thrusting into Joni’s face.
and strikes, passing across while thrusting into Joni’s face.
while stepping off the line;
while stepping off the line;

 

and strikes, passing across while thrusting into Joni’s face.
and strikes, passing across while thrusting into Joni’s face.

Free Sample of The Duellist's Companion

Like Rapiers? Sign up here to join Guy’s mailing list and get a free guide to the different types. You can unsubscribe at any time. Please check our privacy policy for details of what we will do with your data. The short version: send you emails about interesting stuff, and nothing else.

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Ilpo defends himself from a kick in the nuts!
Ilpo defends himself from a kick in the nuts!

For years now the question I've been asked the most is “when is your next longsword book coming out?” And now the answer to that is in your hands. I have launched a campaign on Indiegogo to raise funds for layout and printing; and the moment we hit the target, layout work will begin.

I can't do this without you, so, if you like my work, let me know by buying my book!

You can click on the widget on the right, or click here.

Thank you!

 

Free Sample of The Duellist's Companion

Like Rapiers? Sign up here to join Guy’s mailing list and get a free guide to the different types. You can unsubscribe at any time. Please check our privacy policy for details of what we will do with your data. The short version: send you emails about interesting stuff, and nothing else.

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Playing Audatia with Joonas Laakso.
Playing Audatia with Joonas Laakso.

For the last nine months I have been working on a card game, Audatia, which is intended primarily as a training tool for students of Fiore's Art of Arms, and secondly as a way to spread knowledge of the Art more widely by making a fun and accessible game that anyone can enjoy. By playing it, you accidentally pick up the basic tenets of the system, including the Italian terminology.

This has forced me to think about the system in an entirely new way, and to think about how it can be presented to people who have never even thought of holding a real sword. It has been a steep learning curve for me, and it would have been impossible without my business partner in this venture, Rami Laaksonen, and the superb efforts and skills of the game designer, Samuli Raninen, and the graphic artist Jussi Alarauhio.

We will be presenting the game in public for the first time this weekend, at Ropecon (please note, that stands for Ro(oli) Pe(lit) ie roleplay, Co(nvention). Not Rope-con, for aficionados of hemp, cord and string. If you are coming to the Con, please stop by and have a go at the game: we will be at the official playtesting area, Käpyaula, there from 4-6pm on Friday and Saturday and 12-2pm on Sunday. My annual presentation, Realities of Steel, will be on Saturday from 12-2pm, and I will spend much of the time describing the process of developing a game from a swordsmanship system. I will also hold a swordsmanship demonstration on Sunday from 11-12, where we will not only demonstrate the Art, but also allow members of the audience to experience for themselves the difference between blunt and sharp swords.

I hope to see you there! If you catch me between demos, feel free to ask for a go of the card game. The more people who play it, the more feedback we get, the better the game will become.

We will be launching an Indiegogo campaign tomorrow to raise the 23,000 euros we need to finish the game. I'll post again here the moment it is live.

 

Free Sample of The Duellist's Companion

Like Rapiers? Sign up here to join Guy’s mailing list and get a free guide to the different types. You can unsubscribe at any time. Please check our privacy policy for details of what we will do with your data. The short version: send you emails about interesting stuff, and nothing else.

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