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A Historical Analysis of the Practicality of the Weapons in Zelda XV: The Biggoron's Sword.

TheGreatCthulhu

Composer of the Night.
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Very much a dude.
Oh man, it's been a while since you've seen this series isn't it?

I have performed ancient demon rites and resurrected this series for the sole purpose because..... I wanted to.

For those that aren't up to speed with this series, I practice HEMA (Historical European Martial Arts), and I'm analyzing the weapons in the Zelda games as real weapons, and whether or not they'd be practical for combat, using historical fencing treatises from the Medieval, Renaissance, and early modern periods as our guideline, as well as general logistics of weapon design.

In general, I find a lot of fantasy designs to be largely impractical for various reasons.

Now that we're all refreshed if you're returning to this series, and caught up to speed if you're new, let's review the sword, shall we?

As is tradition in the series, let's look at a picture of what we're dealing with.

Biggoron's Sword - Triforce Wiki, a The Legend of Zelda wiki


Now, let's review this thing.

WHAT KIND OF SWORD IS IT?:

People returning to this series will no doubt have figured out what kind of sword it is, considering the game forces you to use it two-handed, and it's longer than Link himself, meaning a different style of fencing.

That's right, it's a greatsword.

For the newbies to this series, let's get a refresher on sword terminology, shall we?

ARMING SWORD:

This refers to any straight, double-edged, cruciform European Medieval sword that you use with one hand, so something of this nature:

110-04_1080x.jpg


A good gauge for determining this, because there is a lot of blurring of the boundaries in sword terminology, is if you hold your arm straight down while holding the sword, and the point still doesn't touch the ground.

A typical historically accurate reproduction of an average arming sword should have these specifications. Bear in mind, there is variance, but they should have:

  • An overall length of 35" (91.4 cm).
  • A blade length of 29" (73.9 cm).
  • An average weight of 2.5 lbs (1.1 kg).

LONGSWORD:

This refers to any double-edged, Medieval or Renaissance cruciform sword that you typically use with two hands, but they can be used in one-hand. They can be on the shorter side, and that's typically what people call Hand-And-A-Half sword or Bastard sword, and they can be on the longer side which I tend to call War swords.

So, something like this longsword I own, the Hanwei Rhinelander Bastard Sword. Yes, it's made out of carbon steel, and full tang:

20190305_163209.jpg

Longswords have a lot of variance, but they are typically meant to be used two handed.

A typical longsword should have these specifications:

  • An overall length of 41-47" (105-120 cm).
  • A blade length of between 31-40" (78.7-101.6 cm).
  • An average weight around 3.5 lbs (1.6 kg).
And again, this is a straight bladed, cruciform sword with a longer blade than an arming sword, with a longer grip as well, to facilitate two-handed use.

They, by far, are the most popular weapons in the whole of HEMA, and typically the first type of swordsmanship you learn.

GREATSWORD:

Refers to any straight-bladed, two-handed cruciform Renaissance sword that's so long it requires the use of two hands to wield effectively. Known by other names like Spadone from the Spanish, Montante, from the Italians, and Zweihander from the Germans.

Most commonly, greatswords have secondary guards on the blade called lugs, and large, substantial guards that often include side-rings, and an unsharpened part just past the guard called the ricasso.

So a sword, much like this:

1589605309175.png

A typical greatsword should have these specifications:

  • An overall length of 5 ft and upwards (1.5 meters and up).
  • A blade length of 50-72" (127-183 cm).
  • An average weight of 5-7 lbs (2.3-3.2 kg).
In other words, greatswords are so large in sword standards, that they require a fundamentally different kind of fencing than compared with the arming sword, or indeed, the longsword.

And if the weights surprise you, remember that swords, generally speaking (the greatsword is a known exception to this), were sidearms in battle, and were meant to be nimble weapons that caused substantial damage via cuts and thrusts to soft tissue.

There's other type of swords like sabers, basket-hilted broadswords, sideswords, rapiers, smallswords, and such, but they're largely irrelevant to our review of the Biggoron's Sword.

You also might be shocked to learn that greatswords/montantes/spadones/Zweihanders are Renaissance weapons, not Medieval weapons as well.

Okay, so that tells us what they are, but not anything about how they were used in combat.

If we remember that form always follows function, then how would one actually use a greatsword as compared to a longsword?

Well, now we discuss the medieval and Renaissance fencing treatises.

HOW TO USE A GREATSWORD:

Now, I'm not one to beat around the bush on this one, using a greatsword is tiring even when using it two-handed. Remember the fact that sword attacks, like cuts and thrusts, should be fast, explosive, involving the least amount of extraneous movement that we can.

If you've read the other entries to this series (which you should), you'll likely already know the fundamental basics of how to cut and thrust with a longsword reasonably effectively.

But for the newbies, and those requiring a refresher on real swordfighting, let's briefly discuss it.

Words can't really convey how tiring swordfighting is. If we remember that we're aiming to be as fast as we can, because whoever gains the initiative in the fight, controls the fight, and a lot of bind work, which is where both swords are touching, is stopping and redirecting momentum.

Now, with a 3.5 lb sword, we can easily do that nimbly, and with a degree of precision and power, as these guys studying the Italian school of longsword fencing used by the historical masters Filippo de Vadi and Fiore dei Liberi:



As you can see, the longsword is meant to be a nimble weapon.

With that refresher out of the way, now imagine you're swinging a 5'7" blade around that weighs around 6 lbs. I don't care how much you bench, bruh, unless you're freakishly strong, you can't use a greatsword like a longsword.

Thus, the greatsword, in the historical fencing treatises, is more about continuing the momentum of your strikes into the next one, always keeping the blade moving from one guard position, to the next.

Like this quote from Frencesco Fernando Alfieri. He first, in chapter six of his treatise Lo Spadone, discusses the absolute basics of holding the greatsword:

File:L’arte di ben maneggiare la spada (Alfieri) Spadone 3.png


Of Gripping the Spadone: and Forming Yourself in Posture to Assail the Enemy.

Chapter 6

In this discourse one will show that it is much more effective to teach the figure: they don’t make speeches, because seeing the drawn posture and manner that one must observe by imitating them, raising all doubts that could be born from the weakness of the oppressive. The following figure represents how you must in one indivisible time stop in the posture, keeping yourself free to be able to wait or assault according to his good pleasure.

Wanting the gentleman to do the first lesson, it must begin with the two principle cuts, that is a forehand and backhand, and they are brought and at the same time accompanied from the right and left hand, lengthening the step, and the body, pulling the blow either down, or up, according to the place, and the time, these two cuts are pulled indifferently, and replicated more times. The forehand are pulled from the right part, and the backhand are pulled from the left hand, and whoever will well go examining and arguing with intellect will easily find the reasons for going against every one, as we reason in a place of one, and time in another, of the other following lesson.

Specifically, here, he says that holding the greatsword is better served by referencing the picture included for this part of the treatise. If you don't know the basics on holding a sword, remember that we essentially use our core muscles and legs to bear the weight, and the way we grip the weapon should serve to lock the sword into our forearms, taking the wrist out of the equation entirely.

The only way to do this is to follow Miyamoto Mushashi's advice on how to grip a sword in his Book of Five Rings:

Holding the Long Sword

Grip the long sword with a rather floating feeling in your thumb and forefinger, with the middle finger neither tight nor slack, and with the last two fingers tight. It is bad to have play in your hands.

When you take up a sword, you must feel intent on cutting the enemy. As you cut an enemy you must not change your grip, and your hands must not "cower". When you dash the enemy's sword aside, or ward it off, or force it down, you must slightly change the feeling in your thumb and forefinger. Above all, you must be intent on cutting the enemy in the way you grip the sword.

The grip for combat and for sword-testing is the same. There is no such thing as a "man-cutting grip".

Generally, I dislike fixedness in both long swords and hands. Fixedness means a dead hand. Pliability is a living hand. You must bear this in mind.

In other words, you grip a sword by holding it in more of a handshake grip than with a hammer grip.

Anyhow, from there, Frencesco continues with the basic three cut drill in chapter seven:

File:L’arte di ben maneggiare la spada (Alfieri) Spadone 4.png


The First Method to Commence Handling the Spadone

Chapter 7

This lesson one will make three cuts that are worthy of being observed. One will by the subtlety and mastery of the blow seek to consider the impression of the present figure, with which he will commence the passage. And to attain the honor that one will desire, must the body be somewhat bent and disposed to the force; the arm has to be united, and take strength with both hands in gripping the spadone, and moving the natural yet generous step you will form from one time the first forehand strike, and the backhand second, and one will replicate many times such cuts, turning the body and the spadone with the hands turning over the head, and so one will go in this continuous way, both in going forward as in the return backwards, as is more effectively shown by the posture.

In other words, you cut with your entire body behind the strike! By turning your hips and shoulders, as well as maintaining a stable base with your footwork, you naturally form the forehand and backhand strikes of the greatsword.

Notice, also, that Francesco specifically says that ideally, each cut should return to the natural, guarded position that he demonstrated earlier.

This makes perfect, natural sense. Since the greatsword was a battlefield weapon, meant to control key areas of a skirmish, like a bridge, entrance and such, you must always be willing to guard against a strike. Especially sense in these kind of encounters, you're often dealing with multiple opponents.

Thus, one must practice their cuts by not only delivering the strike with speed and power, but with enough control that it doesn't throw you off-balance or cause to over-commit your strike.

Each strike must be sharp and controlled, or, in the case of the greatsword, controlled enough that your cuts naturally flow into one guard position and the next, controlling the momentum of each strike.

And considering the mass of the weapon that we're discussing, this makes much more martial sense than using the greatsword like a bigger longsword.

He continues in chapter eight:

File:L’arte di ben maneggiare la spada (Alfieri) Spadone 5.png


The Head Guard of the Spadone: For Defending Yourself in an Ordinary Street.

Chapter 8

The present figure serves to awaken the chance memory, which by the length of time and little use of my recollection given to living voice became out of mind. Now you are shown that all lessons are so ordered that one is linked with the other. Here we learn how you will pull the three cuts, making the head guard with the spadone. This not only serves to show the disposition and skill of those who exercise, but may be given the case that paragons of mastery practice it in combat. Therefore hold the arm outstretched, and give a round of three forehand cuts over the head, and the same is done with backhand cuts. You must at once spring forward without losing time. You will turn the hands together afterward, as seen in the demonstrated drawing. With the union of the right and left foot you will extend the strike, so forward as backward, having always regard for the exactness of the step so avoiding the disgrace which removes merit.

Basically, Francesco is discussing the importance of a concept in fencing called True Time. It's the idea that ideally, by the time your cut lands on the target, your foot is down at the same time the cut lands.

This, admittedly, is awkward and counter-intuitive.

Everyone wants to make a large, heavy, slow-moving cut in an attempt to cleave the opponent in twain, but if you think about it, if your foot lands before the strike is delivered, your shoulder is exposed, and you're presenting a target.

Thus, in HEMA, for all kinds of sword combat, the goal is to constantly be threatening your opponent, and the only way that can happen is if the strike lands at the same time as your foot.

This is a learned skill, not something you pick up just naturally, because we're actually feeding the strike from the rear, instead of our HEAVY CHEST MUSCLES!!!

This is all building up to this drill that Francesco discusses in chapter nine:

File:L’arte di ben maneggiare la spada (Alfieri) Spadone 4.png


How You Must in a Wide Space do the Three Crosses of the Spadone

Chapter 9

The present lessons are all taken from the real occasions of the matter, which for most happen hot-blooded, we have come to the method of doing the three crosses. By using it in the time that you are assaulted in a plaza or a large street by several people, and to do this you all know requires much judgement, but accompanied with resolution and skill as shown in the prefixed figure.

The first cross will be split with two cuts from the forehand, accompanying it with the right foot, rotating the body and spadone around, and every single strike causes its motion, having the left foot firmly grounded, and the other which walks with the cuts two times. And then stopping the right foot, and commence with the left foot the same with two backhand cuts, and finish the two blows you will start as before with the right foot, and if it will from here pass to the right side, pull the same two forehand cuts, and stop the right foot when finished. And the left you will put to the left side and pull its two backhand cuts, and you will return then into the same place where you had started.

The second cross you will do with three cuts of the forehand, and with three backhand cuts. The forehand cuts will be accompanied with the right foot, and the backhand with the left foot, turning the body three times with the spadone. You will however keep the said order.

In other words, according to Frencesco, the blade must always be moving to control space, which is the whole point of using a large sword like this.

But, all of this seems to show that the greatsword is a cut focused weapon, but you can thrust with them by taking advantage of their length, and with a bit of inspiration from the spear, as Giacomo di Grassi demonstrates in his treatise, Ragione di adoprar sicuramente l'Arme:

File:Di Grassi 21.jpg


Of the Manner How to Handle the Two Hand Sword, in Single Combat.

To those, who would cunningly handle the Two hand Sword in single combat, it is principally necessary that (as in other weapons) they be practiced and have the skill, to use the one hand as well as the other, and they both be active in body, and strong in the arms, which are required in the managing of each weapon. And farther it is requisite that they carry the principles of this Art, surely fixed in their minds and memories, by means whereof they may become bold and resolute, in as much as they have to do, either in striking or defending. They ought furthermore to consider, how the two hand sword is used, and how it ought to be used.

He's right now, discussing the requirements of using a greatsword, which would be that one is strong, and has the fundamental basics of swordsmanship down.

He continues:

Touching the first, All men use to deliver thrusts, as well as edge blows, down right, and reversed, with both hands to the Sword which way albeit, it be profitable in the bestowing of edge blows, as being the better able to sustain the Sword, yet in the discharge of thrusts it is hurtful, for it causes them to be much shorter, then they would be, if in the beginning, they were forcibly delivered with both the hands, and then by taking away one hand from the cross, they were springed as far forth, as the pommel hand, foot, and all the body of that side, may be stretched out. For, being discharged in this manner, if they hit home they make great passage, and if they be voided, yet the Two hand sword may be quickly had again, by the retiring of a pace, and of the hand and arm, placing the other hand there where it was, and so settling in the low ward.

Here, he's discussing the principles of the first cut, which I believe Frencesco eloquently handled.

Continuing on, Giacomo di Grassi says this on how to deliver a thrust:

Therefore, when one finds himself to stand at the high ward, (the which at the two hand Sword, is framed, either with the right side towards the enemy, either with the left, in either of which ways, the arm would be borne aloft, and far off from the body, causing the point somewhat to bend both towards the ground and the body, to the end it may defend both the length of the body, and cover it in a manner thwarting or crossing, it being so far off from the sword.

Farther, in this ward, the hand that is towards the enemy, must take hold fast of the handle near the cross, and underneath, the other hand above, and near the pommel. I say standing thus at the high ward, he may either deliver a thrust, either a down right blow of the edge.

The thrust is discharged (as soon as the enemy's sword is found) as far in the beginning as he may with both arms: Then, taking away the cross hand, he shall force it farther on with the pommel hand, as much as he may stretch it forth, always in the discharge, increasing a slope pace. And the thrust being thus delivered, he shall presently retire his said pace, and return his hand again to the cross, settling himself either in the high or low warde.

In other words, you deliver your thrust much like a spear, with your back hand near the pommel for extra reach and power.

"Okay, Cthulhu!" I hear you cry, "But surely, a strong, fit person can wield a greatsword in one hand!"

Well, dear reader, here's a video from the lovely Scholagladiatoria channel discussing on using a greatsword in one hand, as well as aptly demonstrating greatsword fencing fundamentals that we discussed in detail, in the process:



In other words, it's possible but as you can see, it's far slower, and not as martially viable in real fighting situations. Real fights, especially with weapons, tend to be brief affairs, and in swordfighting, there's a literal danger of a flick of the wrist, stepping in too far, and having cowardice, that can cause you to die.

Yes, being brave and bold is a requirement to be a competent swordsman. You cannot be afraid of the weapon, nor the potential outcomes of the fight in order to be a good swordsman.

As Miyamoto Mushashi says in the Book of Five Rings:

Generally speaking, the Way of the warrior is resolute acceptance of death.

If that makes you uncomfortable, dear reader, then you have no business picking up a sword, or using weapons. You must be content with the outcomes of a battle, no matter if they're in your favor or not.

Anyhow, rant aside, it's simply not viable to use a large greatsword one-handed, as you're only increasing your odds of dying whilst doing so. Far better to use the sword as intended, that is, two-handed in order to increase your likelihood of winning, which in swordfighting terms, is surviving the encounter.

One must recognize this.

ACTUAL REVIEW OF THE BIGGORON'S SWORD:

Now that we have a decent, and comprehensive understanding of using the greatsword in battle, as coached by our swordmasters of yore, let's discuss the Biggoron's Sword as it's depicted to be, a greatsword.

You might notice the first problem compared with the real examples from the treatises and the museum piece I pictured earlier. It seems the blade is much fatter than a typical greatsword, which tend to be more refined.

The cross-section of the sword seems to be a diamond cross-section, with a clear, defined central ridge, while the real examples tend to be narrower and use fullers.

The purpose of this is to lighten the blade to make it as light as possible.

The blade on the Biggoron's Sword seems to be overly large. Since Biggoron himself is described as a master smith, one would think he's able to make a more refined piece, wouldn't you think?

Further, the proportions of the sword seem to be.... off.

If the blade is typical greatsword size and length, then the hilt assembly (which is everything below the sword) seems small and spindly.

Or, if the hilt assembly is typical greatsword proportions, then just how large is that blade?

Talking of the hilt assembly, the guard seems to be rather small. Surely, you've noticed the sheer size of the guards on real greatswords. They're pretty substantial.

From what I can tell, it seems that the quillons of the guard are either just welded or attached to the central bronze, Goron amulet in the central quillon block. Fair enough, as if the welding is done by a skilled smith, it wouldn't take away from the strength of the guard.

The handle itself seems to be not long enough, and cylindrical. In general, cylindrical handles ARE NOT WHAT YOU WANT ON A SWORD.

The reason?

It's much harder to intuitively feel where the edges of the sword are, messing up your edge-alignment.

Edge-alignment is the idea that the edges of the blade are lined in the same direction as your strike, and this is an absolute, critical, essential skill in order to cut with swords.

If the edge is misaligned, it won't slice as deep, reducing your damage, or, if it's severely off, cause the sword to bounce off the target.

As far as the pommel, it seems fine from what I can tell.

HOW TO FIX THESE PROBLEMS:

First, I'd keep it at the length as it's depicted in game. Greatswords are absolutely deadly and scary weapons to deal with, and so Link using a greatsword is perfectly sound, from a martial sense.

I'd fix the blade by refining it a bit more to include tapering, both a distal, and profile taper, and basically thinning it down overall.

I see no point in not having a fuller on a greatsword, as there's no point in adding heft to a weapon when it doesn't offer you benefits. Once we get to swords of greatsword size, then our goal isn't to make the blade heavier, but ligher.

I'd also include lugs on the blade, like we saw in the historical greatsword, and give it a ricasso.

I'd also refine the point more, making it come to a more narrow point, increasing its penetrative power.

The weapon, by its sheer proportions, is already massive enough.

I'd fix the guard by making the quillons of the guard longer, and get rid of the bronze Goron amulet in the central block, and instead, include large side rings for better hand protection.

Talking of the hilt, I'd making the grip ovate-to-round or a rounded rectangle, allowing Link to intuitively feel where the edges of the sword are aligned, increasing his damage.

In addition, I'd make the grip longer, to give him more leverage.

I'd also vastly improve the proportions of the blade, to make it more comfortable and usable for the wielder.

Finally, instead of a Bronze amulet with the Goron maker's mark stamped into it, I'd stamp the maker's mark onto the ricasso of the blade itself, which shows more skill, and clearly identifies the work as mine, so my incompetent Goron brother doesn't attempt to fool his customers with his shoddy workmanship:

Giant's Crappy Knife by raizy on DeviantArt


So, if you could imagine my redesigned Biggoron's Sword, the guard would have the same color, but the quillons would be thinner and longer, with no central Bronze amulet with the Gorn's mark in it, with side-rings instead, the handle would be longer, more ovate-to-round, than a perfect cylinder, with a bigger pommel on the end, with the guard and pommel being blued, a white leather grip, and a blade much like the the historical piece, with Biggoron's maker's mark stamped into the ricasso of the blade.

CONCLUSION:

Lemme know if there's other weapons you want me to cover!

Lemme know what you think!

And until next time guys! ;)
 

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