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Watcher Chronicles Sword Section by Anthony De Longis

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  • Watcher Chronicles Sword Section by Anthony De Longis

    Single handed broadsword
    The double-edged blade is straight with a diamond grind and lenticular cross-section that narrows to a rounded point sturdy enough to penetrate armour and chain mail. Carved cross-guard quillons with a gentle upsweep improve the chances for catching the opposing blade. A single ring, or half circle of metal positioned above the guard, protects the knuckles from the skidding blade of an opponent. A substantial carved brass pommel balances the weight of the blade for an easy flow of cutting strokes. The extended finial concentrates considerable force into a small area, producing punishing pommel blows capable of splintering bones and crushing skulls.

    The base of the blade is unsharpened for a full hand's span. This "ricasso" permits grasping the sword with one hand above the cross piece for more effective infighting, allowing Amanda to enter her enemy's zone of power and negate his strength.

    Smaller and less powerful than most of her male opponents, Amanda's style of fighting relies on intelligence, quickness of movement and her ability to efficiently maneuver both body and blade in order to deflect her enemies' powerful blows and instantly counter with an attack of her own.

    Presented by her first teacher and mentor, Rebecca Horne, Amanda's sword was modelled after Rebecca's own. The structure and design of this weapon reflects Rebecca's considerable knowledge of strategy and her faith in Amanda's superior potential.

    Charles Anthony, Curator, Bladed Antiquities
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    They chose two clips to go with Amanda's Sword's review. The fight with Luther from Legacy, and Amanda and Rebecca's conversation in Methuselah's Gift when she fled back for help upon her first encounter with an Immortal out for her head.
    "Rebecca, please! I can't, I'm not good enough!"
    "Will you run all your life?! Choose your ground, choose your weapon, and face what is to come. You're more than good enough."

  • #2
    Graham Ashe
    Hand-and-a-half gothic broad sword

    Broad, straight, doubled-edged blade with a smooth rhomboid cross section tapering to a centered point. The substantial blade has no fuller. It has heavy steel cross guards with trefoil clover cutouts. It is a classic "bastard" or hand-and-a-half sword with a flattened disc pommel and protruding finial. The bottom third of the leather covered extended handle is wrapped with wire for added purchase when gripped with the second hand.

    By all accounts, Graham Ashe was a man of superior accomplishment, as witnessed by the prowess of his many famous students. In a life that literally spanned centuries, Ashe had a variety of weapons and combat styles from which to select. He continued to favor this sturdy medieval fighting blade of the later 1400's. Only a sword master of exceptional skill and personality could manoeuver such a blade with the dexterity necessary to counter the faster and lighter rapiers of his Renaissance peers.

    Ashe's sword was given by his student and friend, Duncan MacLeod, to his own student, Richie Ryan, after the latter's shell guard rapier was broken by Haresh Clay. Some cultures think a fine sword is the repository for the spirit of its past owner. Perhaps MacLeod had special reasons for choosing this sword above all others to give to his young friend.
    Charles Anthony, Curator, Bladed Antiquities
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    They chose his losing battle with Haresh Clay.
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    • #3
      "Anthropoid" Celtic sword of the late iron age

      The heavy bronze hilt is carved in the shape of a standing man with the stylized arms and legs providing minimal protection for the hand. It was believed the anthropomorphic figures carved into the grip could increase the power of the blade and offer a magic charm to protect the wielder.

      It was pattern welded by folding and hammering together layers of iron and steel alloys to form the blade. Greater carbon content keeps the edge hard and sharp while the softer iron-rich core absorbs the shock of the blows. Short bladed and hefty, this gladius-shaped blade widens towards the tip before narrowing to a centered point for thrusting. The thickness of the metal prevents bending and adds sufficient weight to the cutting stroke to easily sever an arm or a head. In addition to being a formidable "limb lopper," Ceirdwyn's sword is ideally suited for devastatingly effective infighting. This is a battle weapon of the first order when you want to get up close and personal with your opponent.
      Charles Anthony, Curator, Bladed Antiquities
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      They chose the battle in Ceirdwyn's village.
      "Watch your back!" says her friend.
      "Why, when I have you?" she replies.
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      Last edited by dubiousbystander; 08-09-2020, 08:43 AM.


      • #4
        Otavio Consone
        Swept hilt rapier with flamberge blade, usually accompanied by left handed fighting dagger.

        Instead of the traditional Spanish cup hilt, Consone utilized only the rising quillon, bent upwards, to aid in his capture and control of an opponent's blade. Similarly, he eschewed the classic "main gauche" with its broad triangle of protecting metal. For his companion weapon, Consone selected a Bolognese fighting dagger with its quillons curved up and away from the knuckle ring. This arrangement facilitates entrapping an opponent's sword between dagger blade and quillons by twisting the wrist in either supination or pronation.

        Consone's flamberge blade is of special interest. Long and straight, with an undulating edge from ricasso to tip, the blade is specifically designed to inflict seriously ugly wounds. Instead of lacerating, the flamberge blade macerates, creating edges that won't match and are difficult to repair. Where an ordinary blade slices, the flamberge blade chews. The intimidation factor of such a blade was surely not lost on Consone nor any of his opponents. It is worthy to note a tradition in the conquered Spanish Filipino colonies: only a Master may wield a blade with multiple scallops. The more waves on the sword, the greater the master's prowess. Otavio Consone was an acknowledged Master of the complex Spanish training system known as the "Mysterious Circle." If the sword is the "soul of the samurai," the Mysterious Circle was the soul of the fighting Spaniard. Intense training develops lightning reflexes, calm demeanor and a cool analysis of every situation. Angulation, deflection and the tremendous power generated by body torque are merely some of its secrets.

        The Circle defines distance in absolute terms. Action outside the dimensions of the circle pose no threat. Once inside the circle, your enemy has entered your killing zone. Distance is exact and specific. It requires only 3 inches of steel to get the job done. The lines of the diagram define the most direct routes to strike his vitals and maim, disable or instantly kill. The center of the Circle offers a road map to most efficiently return multiple attacks from any direction. Just follow the lines.

        Consone seemed to know his opponent's next move as if by magic. The "magic" was the result of exacting footwork, body angulation and a manipulation of the blade that limited the opponent's options. The master of the Circle guides his adversary towards predictable responses by offering fewer opportunities, at the same time baiting him to attack the openings he chooses. This makes it relatively easy to avoid or counter his enemy's offense and launch a fatal response of his own.

        As a master of the Circle, Consone believed himself unbeatable. There are no such certainties.
        Charles Anthony, Curator, Bladed Antiquities
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        "Still think you could make a swordsman out of me, Consone?"
        "You were born a pig farmer; you will always be a pig farmer!"
        fight fight stab. "And now you die a pig farmer!"


        • #5
          Hamza el Kahir
          "The Daughter of Justice," a scimitar of Damascus steel

          Hamza's sword was as much a rarity as the man who made it. Forged by Hamza himself, it is a masterwork of the swordsmith's art. A lion's head hilt of rough silver with simple cross-guard quillons perpendicular to the grip cradles a blade of unsurpassed beauty. Damascened blue grey metal catches the light in ripples, as if viewed through water or oil.

          Whereas a straight blade only cuts at the point of impact, the extreme curve of the scimitar provides extended contact throughout the continuous flow of circular slashes that identify the Arab style of combat. The tip of the blade widens to add weight and is sharpened on the false edge to facilitate thrusts and retracting back slashes around an opponent's parries. Near the hilt, the back of the long, curved blade is chiseled out in arabesques and inlaid with gold. Along its length, more gold inlay sets off an inscription in flowing Arabic characters. The inscription honours the prophet and names the sword, "The Daughter of Justice, the Taker of Heads, the Giver of Mercy and the Drinker of the Blood of the Infidels."

          After Hamza's death, the sword disappeared into legend, becoming a talisman of immortality. It was said that whoever bears the sword, would live forever. It is now in the possession of Duncan MacLeod.
          Charles Anthony, Curator, Bladed Antiquities
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          The scene for this one was when he gave MacLeod his pocketwatch and said, "Remember me."


          • #6
            Renaissance rapier

            All reports indicate that Fitzcairn was a man of impeccable taste with an exaggerated sense of style. It stands to reason that he would adopt the most fashionable sword of the period, anything else would be gauche in the extreme.

            In 1637, for his first encounter with Duncan MacLeod he employed a fighting rapier with a swept hilt guard, knuckle bow, extended horizontal quillons and a heavy pommel for balance. The blade was diamond ground and double-edged and tapered to a sturdy point, making the sword suitable for both cutting and thrusting. It was paired with a companion dagger with both quillons curved upwards to facilitate the control and capture of an opposing blade.

            By 1696, the style of fighting had undergone a change. The thrust was now king, the speed of the point having proved more effective in most encounters than the slower but more powerful broadsword or the cutting style rapier. Fitzcairn had adopted the lighter bladed variant and with it, the cup-hilt guard for greater hand protection. He retained the extended quillons and knuckle bow.

            The cup-hilt rapier seemed to suit his swashbuckling personality and flair for the dramatic and was his weapon of preference for more than a century. Alas, the passage of time brought significant changes in fashion and style. The public wearing of the sword by any well-dressed gentleman was neither chic nor legal. Perhaps this accounts for Fitzcairn's return to a simpler, more functional weapon for his encounters with other Immortals. When he met the formidable Kalas, Fitzcairn's sword of choice was a two-handed broadsword with a straight, lenticular blade with simple tubular quillions that angled upwards towards a sturdy point.
            Charles Anthony, Curator, Bladed Antiquities
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            Scene chosen: Verona, Italy, 1637 - courtyard, night, Fitz and Duncan dueling.
            "I have a plan. Fight me in earnest!"
            "I am, you fool! When do we run?"
            Duncan stabs Fitz. "We don't."
            "Some plan...!"
            Last edited by dubiousbystander; 08-12-2020, 08:30 PM.


            • #7
              Antonius Kalas
              Hand-and-a-half bastard broadsword.

              Early chronicles indicate Kalas changed weapons many times as blade quality and function evolved and improved before selecting his favorite sometime late in the fourteenth century. For most of his recorded history Kalas' sword of choice was a bastard broadsword with a broad lenticular blade and full, unsharpened ricasso to allow for the left hand to move above the quillons for more effective close range fighting. The grip was slightly larger than one hand's breadth and in combination with the heavy disc pommel permitted the second hand to be brought into play for savage cutting power. The protruding finial would concentrate the force of his pommel blows into a skull crushing finality. Although the blade had no fuller to lighten its weight, by all accounts, Kalas was a formidable foe who wielded his sword with both speed and considerable dexterity.

              The cruciform cross-guard was quite distinctive. Elaborately carved, it had thick rectangular arms and an extended quillon block to support the blade. The ends of the cross-guard were formed into beautifully decorated squares. Inside each was etched the heraldic rose, five-petalled, barbed and seeded.

              For his final encounters with Duncan MacLeod, he was forced to find another weapon. Kalas was able to rearm himself by using the simple, if immoral, expedient of locating another Immortal, and running him down with a car. He then killed the unfortunate Auberon with his own sword before liberating it from the dead corpse. Whether it was simply good luck to find a weapon that suited him on his first try, we'll never know. Given Kalas' nature, I suspect he would have kept shopping until he found one that suited his fancy. Nevertheless, the sword he chose was remarkably close to his own. It was another hand-and-a-half bastard broadsword, this time with a fuller to lighten the long, straight blade. The quillons were a simple cross-guard and the disc pommel provided an effective counter balance and further served as an infighting pummeler.

              Kalas was certainly a formidable foe. Even Duncan MacLeod could not be certain he would survive another encounter. But however pleasing and familiar the weapon may have felt, Kalas was using a sword of necessity rather than his own weapon of choice when MacLeod cut it in half. There is a certain poetic justice to knowing the sword that ultimately failed Kalas was the one he had so dishonorably stolen.
              Charles Anthony, Curator, Bladed Antiquities
              "Nothing changes, MacLeod! Ever!"
              "Then come and die."


              • #8
                Viking fighting axe.

                A "bearded" axe with a broad, convex blade to generate tremendous chopping power, easily smashing through armour and crushing the bones beneath. The axe head has a sharpened tip, centered on top and edged on both sides, for slashing and thrusting. A long iron shaft wrapped in leather supports the blade and generates tremendous velocity when swung with both hands. The metal wrapped butt of the handle can also be most effective. A hollowed under-curve at the base of the blade is used to hook the neck, shoulder, torso or legs of an opponent and yank them off their feet for the killing blow.

                Called "Blood-stealer Ragnor," it was believed by Kanwulf to be made by the gods and used by Loki and Thor themselves. In 1635, Duncan MacLeod buried the axe in his father's grave where it lay for 360 years. In a conversation with Joe Dawson, MacLeod stated, "I left Kanwulf for dead and buried his axe. If there was a Valhalla, I wanted him weaponless." After defeating Kanwulf for the second time, there is every reason to believe MacLeod would have returned the axe to its resting place.
                Charles Anthony, Curator, Bladed Antiquities


                • #9
                  Hans Kershner
                  Single-hand broadsword.

                  A common weapon for an uncommon man. For his final encounter Kershner selected a straight bladed broadsword with a lenticular cross section and a channel or fuller on each side. The blade tapers gradually to an effective thrusting point and has gently curving quillons and a leather wrapped handle. A slightly extended finial crowns a pommel in the shape of a flattened pyramid.

                  The fuller serves a double purpose. First, it lightens the blade for improved speed and balance, and makes it more elastic. This construction also geometrically strengthens the blade for blows to the edge. Second, a blade thrust into a body produces a vacuum that can impede efficient withdrawal. Such a delay can prove fatal, especially when facing multiple opponents. The "blood groove" permits blood to flow freely from the wound and thereby prevents the vacuum suction grip of the flesh.

                  A heralded master of the sword, Kershner's choice of weapon reflects his absolute confidence in his own ability. Alas, in a sword duel there is no guarantee the better man will win.
                  Charles Anthony, Curator, Bladed Antiquities


                  • #10
                    Two handed broadsword of his own design.

                    No one understood terror tactics better than Kronos. Four masked phantasms suddenly materializing on horseback was an event calculated to strike panic and paralysing fear in the hearts of their unfortunate victims. The fantastic appearance of the "Four Horsemen" could hardly have been an accident. Rather, each element of their frightening personas was deliberately calculated to maximize shock and heighten terror. The choice and design of their weaponry was an obvious extension of that premise.

                    During the Bronze age, three of the Horsemen seemed to favor variations on the simple swords of the period. The weapons had little or no hand protection, broad, heavy blades and were just fine for crushing skulls and snuffing out life with a minimum of fuss.
                    Silas was the exception. He weilded a double-headed crescent shaped monstrosity with sharp thrusting tips and an inner seration on one of the axe heads. It was an effective weapon for both the lopping of heads and the impaling of appendages and torsos. Through the ages, his weapon devolved into a single, broad headed executioner's style chopper with a serviceable thrusting point at the top of the blade; functional, terrible, inexorable.

                    As time went on, Methos chose the simplicity of the single-handed broadsword described in detail in his individual profile. Caspian adopted a variation of a curved bladed falchion, the heavier point forged into a harpoon-like thrusting tip with a sharpened false edge. As an additional improvement, he had his convex knuckle guard shaped into a cutting blade. This would have proved devastatingly effective for close range encounters.

                    The ultimate steel nightmare was Kronos' horror sword. All edges, sharp points and misery, it presented a portrait in terror. Yet each exaggeration was merely an elaboration on the proven practicality of some of history's most effective swords. In essence, Kronos tarted up a two handed, straight bladed broadsword. The spur-like angular hand protection between the cross-guard and ricasso are found in many of the zwei or two-handed swords of Switzerland and Germany in the early fifteen hundreds. Similarly, the claw shaped quillons are only slightly more garish than the cross guards of the Swiss mercenaries of the same period. Growing talon-like from the extended quillon block, they angle upward to surround the ricasso and provide excellent protection when moving the left hand above the guard for infighting. The angle of the quillons and the spurs at the base of the blade's fuller also provide a perfect trap to catch an opponent's blade and wrench it from his hands. In addition, the points and sharpened edges of the gaudy filligree would be both visually disconcerting and handy little flesh-rippers after closing distance and locking your enemy in a corps-a-corps. The cone-shaped pommel would effectively dent both skulls and armour.
                    Charles Anthony, Curator, Bladed Antiquities


                    • #11
                      Duncan MacLeod
                      Japanese Dragon-head Katana

                      During his four hundred years as an Immortal, Duncan MacLeod has been recorded utilizing a variety of swords. His broad travels have exposed him to many fighting blades and combat styles. An avid student, MacLeod aggressively honed his skills, studying and training with many of the most reknowned swordsmen and teachers of his times. Indeed, MacLeod himself must be considered a swordmaster many times over. He is a dangerous man whether armed or empty-handed.

                      Since 1778, the sword that appears almost exclusively in the Chronicles of Duncan MacLeod is the magnificent dragon-headed katana gifted to him by Hideo Koto in that year. Indeed, since that date, he is rarely without it.

                      In Japan, the sword is considered the soul of the samurai. It is thought to store the history and the spirit of past generations of its owners. Crafted by the great swordmaster Masahiro, in the year of Duncan MacLeod's birth, both the Immortal and this immortal blade had survived two hundred years before joining together.

                      The hasaki (cutting edge) is matchless, the texture of the glistening steel immaculate. The ivory handle is fashioned in the shape of a dragon's head, the carvings flowing gracefully the length of the two-handed grip all the way to the tsuba (guard). The design is so clever, it conceals absolutely the mekugi pin that holds the blade secure. From nakago (tang) to kissaki (tip), the blade is the perfect union of exquisite grace and absolute strength. Easily able to penetrate armour, it can sever and slice with surgical precision. Ironically, the first head MacLeod took with the Dragon Katana belonged to his friend and teacher, Hideo Koto.

                      The katana is arguably the most efficient cutting blade in history. As a weapon it approaches perfection. The extended hilt is gripped close to the tsuba with the right hand, the left hand wrapping the kashira or butt cap. This spread-hand grip delivers blinding fast snapping cuts form the wrist. The added leverage, pivots the blade effortlessly in the hands and speeds the blade to its intended target. With a squeeze of the fingers, the sword reverses itself like a thing alive, seamlessly combining the flow of body and arm to generate the power to literally cut a man in half. The delicate curve of the blade is designed to maintain contact and pressure throughout the full arc of each drawing cut, combining awesome power with delicate grace and surgical precision.

                      Where the dragon-head Katana defines Duncan MacLeod's recent history, the most significant blade of his formative years was his father's sword, the claymore of the Chieftain of Clan MacLeod. Given to him by his mother in 1624 after his father was slain in a fight with the Immortal viking, Kanwulf, it now hangs on display in a tavern in Glenfinnan, Scotland, the ancestral home of the Clan MacLeod.
                      Claymore is from the Scottish, claidheamah mor, and means "great sword." It has a broad, straight, double-edged blade nearly 60 inches in length. The long diamond-sectioned quillons angle upwards towards the blade and terminate in quatrefoils. The quillon block extends to form a long spur on each side of the blade. The two handed grip is tubular and leather covered. The heavy walnut-shaped pommel effectively counter-balances the blade and directs bone shattering power to strikes with the pommel.

                      The claymore represents the life from which Duncan MacLeod was banished by his Immortality. Denied a family of his own by fate, MacLeod became a wanderer and at times a teacher. A swordmaster changes the lives of each student forever, in ways both subtle and profound. He plants the seeds that he himself has harvested from his own instructors and from the greatest of teachers, life.
                      Charles Anthony, Curator, Bladed Antiquities
                      "Oh, you can't drive me out. I know your thoughts."
                      "Then you know who I am."
                      "You're nothing."
                      "No! I am Duncan MacLeod of the Clan MacLeod."

                      "Take it. Take it I say! Let no man tell you different. You are Duncan MacLeod of the Clan MacLeod."
                      Last edited by dubiousbystander; 09-17-2020, 09:12 PM.


                      • #12
                        Single-hand broadsword.

                        Methos has literally strolled through man's passage from the age of crude bronze swords, into the strength of iron and the glories of steel. Without a doubt, he has utilized and mastered a variety of weapons in the course of his extended life. It seems likely that with each advance in metallurgy and improvement in weapons design, Methos would be among the first to adopt the technology in an effort to remain ahead of the pack. With so many weapons and periods from which to select, I find his choice of sword fascinating. A single handed broadsword from the late thirteenth Century with lenticular cross section and a fuller on each side.

                        The blade is wide at the forte and gradually tapers to a point. This reflects the dawning realization at that time that with a blade of sufficient strength, you can puncture armour as well as hack your way through it. It is interesting to note that the fuller serves a function beyond lightening the blade and reducing the suction grip of flesh on the blade when inflicting a stabbing wound. Recent studies have proven this construction geometrically strengthens the blade and reduces the stress of blows delivered on the edge.

                        Simple, practical and reliable. Methos' one concession to fashion in the ornately carved designs worked into the otherwise simple cross guard quillons that protect his hand. One wonders if this blade has a special history and wishes the sword could talk. It is certain that Methos never will.

                        The pommel is large and hazelnut shaped to balance the weight of the blade and offer a pivoting grip for the left hand for the additional power and speed of a two handed blow. It's substantial heft will also crack an enemies skull quite nicely.

                        Methos has been writing almost since writing began. Imagine the variety of weapons this guy has employed. Imagine the store of knowledge he has amassed. Certainly you don't live over 5000 years as an Immortal without learning a thing or two about swords and survival. Perhaps, Methos even taught some of the legendary masters throughout history. Certainly he would have trained with more than a few of the greats. Perhaps more than one of these was just another alias in the long list of identities he has assumed. Unfortunately, the Methos Chronicles are notoriously unreliable.
                        Charles Anthony, Curator, Bladed Antiquities

                        "You bastard!" complaines Keane.
                        "Sticks and stones," Methos says.

                        "Just because I don't LIKE to fight, doesn't mean that I can't."
                        Last edited by dubiousbystander; 09-13-2020, 04:36 AM.


                        • #13
                          Richie Ryan
                          Shell guard military rapier.
                          A diamond ground double-edged sword blade tapering to a centered sharp tip make this weapon ideally suited for both cutting and thrusting attacks. The military sword is thicker than its civilian counterpart. It is therefore better suited to the task of deflecting the powerful blows of the more substantial broadswords wielded by many of the Immortals Richie was destined to encounter.

                          The guard is an evolution from the open rings of the swept hilt rapier, through the interim improvements offered by the Pappenheimer's perforated metal screens, to the more inclusive hand protection of the cup hilt rapier guard. This shell guard variation of the latter variety includes a ricasso and pas d'ane for a firm yet flexible grip. A knuckle bow and extended quillons for trapping an opponent's blade are standard equipment. The double clam shell arrangement completes the full armoured protection for the sword hand.

                          The shell guard rapier was presented to him by his teacher and friend, Duncan MacLeod. When Richie's rapier was broken in a combat with Haresh Clay, MacLeod gave him a new weapon, a hand-and-a-half broadsword. The sword had belonged to MacLeod's own teacher and friend, the celebrated master of the blade, Graham Ashe.
                          Charles Anthony, Curator, Bladed Antiquities

                          "Whatever happened Mac, we can work it out!"
                          "Sorry, wrong number."

                          "Take good care of it. Live with it. Make it part of you. It might be the only friend you have."