1. The Calpe Rules aim at making the singlestick the cutting equivalent of the epee. The use of the point in sabre tends to restrict play with the cutting edge, to encourage the stop thrust in preference to the time hit with the edge. Furthermore, the modern basket hilted stick is dangerous as a thrusting weapon. With the old hide hilt. the stick passed through a leather tube in the hilt so that in the case of a strong thrust, the hilt would slide forward along the stick. As the stick itself is now gripped directly by the hand (within the basket hilt), this no longer happens. Hence the Calpe Singlestick Rule which treats the use of the point as dangerous play and penalises it by counting it as a hit against the offender, even when he offended purely by negligence in leaving his point where it was accidentally run on to.
  2. A sound fencing motto is “Toucher sans l’etre.” ‘ To hit without being hit,’ is the foundation of sound play. To evolve play on that basis these rules have been framed.
  3. The joy of fencing lies in the art itself.
  4. The discussion of judges not only interrupt play and waste time, but interfere with full enjoyment. Just as in verbal debate, no man is fully pleased with an argument he has put forward if his opponent does not admit its force or if he knows it is based on a fallacy, even so no hit is satisfactory to the fencer to whom it is adjudged, if he does not believe it good, or if it does not convince his adversary.
  5. By making essential elements of each hit. first its acknowledgement by the recipient and then its acceptance by the striker. and by cutting out the talkers, minimum waste of time and maximum enjoyment are made possible.
  6. Hearty loud acknowledgements add enormously to the pleasure of both players and make their play enjoyable to watch.

  8. As in the sabre, cuts should be either vertical or horizontal: but unlike sabre the point is dangerous in line and must not be held there or used at all. It follows that parries should be horizontal (to meet the vertical cut at head), or vertical in all other cases.
  9. With a good vertical parry, it is often possible to catch the feeble end of the other stick with the base of one’s own just outside the basket hilt. If it is held there colossal leverage is obtained making the riposte immune from remise or redoublement.
  10. For this purpose and in order to obtain best shock effect from the parry, the parry should be made with a well bent arm as near the body as possible. This also avoids hitting the other players on the wrist bones (painful) with what is intended for a sharp parry.
  11. The best way to meet a low line attack is to withdraw the leading leg (without straightening it), and stop hit high. The parry by distance is always the safest parry, but it only allows a good counter attack at arm in this case.
  12. In sabre, the direct riposte prevails against the remise or reloublement. Here it does not. Therefore the riposte must be made with opposition when fencing a novice or fanatic, or while the other stick is still so widely deflected or so shaken by the parry that there is no remise.
  13. In this sense “opposition” does not necessarily mean contact of sticks: it means the riposter holding his stick or basket during and just after his riposte in such a position as to screen himself from remise or redoublement.

  14. The only safe attacks against novice or “wild man” are done in the same way as the riposte just explained, or are stop hits accompanied by a “retire by jump,” or time hits.


  15. Impress on the pupil:-

    (a) Danger of hitting short at head or body, e.g. if the opponent counter-attacks slightly later, there is danger of the latter running on to the point with chest or abdomen.

    (b) Danger of hurting by hitting hard vertically on point of shoulder, through opponent dodging and receiving there a cut intended for his head.

    (c) Danger of hurting by parrying hard on to the opponent’s wrist instead of on to his stick, owing to having the arm straight (instead of bent).

    (d) Primary importance of not being hit. No use hitting the other man, if it does not stop his hitting you! It would be small consolation in a real fight to say, “Ah! but I hit you half a second first,” or “You had no business to hit me: I was the attacker.”

    Consequently the attacker must either:
    (i) launch his attack by surprise; e.g. when opponent is startled and tries to parry (but too late), instead of instinctively counter-attacking.

    (ii) fool the opponent into parrying in one place, while hitting him in another;

    (iii) by an action on the blade, gain sufficient time to get home a hit and avoid a simultaneous (or even a slightly late) counter-attack;

    (iv) by obtaining a mastery of the opponent’s blade and retaining it till well after the hit scored;

    (v) a combination of the above.

    A direct parry and riposte, as a combination of (i) and (ii) is usually sound; a parry with riposte by the disengage is usually sound when the opponent is an experienced fencer. (iv) is, however the only sure way and a riposte retaining mastery of the opponent’s blade from the parry is ideal.

    It follows that the fencer with the singlestick is guilty of a bad error of judgment if he risks being hit through attacking in such a way as to risk being hit himself.

  16. 1st Phase instruction should be based on teaching parry and riposte, the pupil being told to go on parry, riposte, parry riposte till he hits the instructor. The determination to hit is essential and even in late 2nd Phase, each phase should normally finish by the instructor being hit.
    • Hit: see Rule 6.
    • Riposte: a counter-attack made after parrying the attack.
    • Counter-riposte: ditto, but after parrying the riposte.
    • Time-hit: a counter-attack made in such a manner as by its execution to parry the attack.
    • Stop-hit: a counter-attack unaccompanied by a defensive movement of the stick or guard, delivered during the development of the attack.
    • Reprise: tile renew of an attack in the original line after it has been parried, instead of parrying the riposte (if any).
    • Redoublement: ditto. but not in the original line.
    • Prise de fer: a player executes a prise de fer when he dominates the extremity of his opponent’s stick with the hilt end of his own profiting by the colossal leverage he has thereby attained.


January, 1931.

  1. Judges There shall be no judges and no referee.
  2. Ground. Unlimited, preferably out of doors and not very even, but without any deep holes or large loose stones.
  3. Dress. Vest, shorts, gym shoes, sabre- (or bayonet-) mask, any glove. An elbow pad is good; knee pad may be desired.
  4. Play. Is started by both players engaging sticks, thus showing they are both ready. After any stoppage of play it is re-started in the same manner.

    This ceremonial engagement of sticks is not to be a prelude to an indecently precipitous surprise attack. There should be time to come peacefully back to an “on guard,” or resting position before having to face an onslaught.

  5. Hard hitting, using the point, or holding the point in line are forbidden.
  6. Hits. A hit is a cut cleanly delivered with the stick on any part of the opponent without its force having been broken by his stick or guard-hilt. A bayonet-glove used instead of a guard-hilt will be regarded as one.
  7. Acknowledgements All hits will at once be audibly acknowledged by their recipient, whether he is fully satisfied or in any doubt. If the other player is not satisfied that the touch acknowledged was a good hit as defined by Rule 6 it is for him to say so, he must disclaim it; it will then be deemed not to have arrived at all.


  8. Claiming hits is forbidden. If an apparent hit is not acknowledged, it must have been too indifferent or too light for the recipient to feel; he is right in not acknowledging what he is satisfied is not a hit.
  9. Stoppage of play. The recipient of a hit will stop as soon as he can after feeling it. If before he succeeds in stopping he delivers a hit, both hits count, even though one arrived very late; this constitutes a double-hit; should either hit, however, be disclaimed, as not satisfying Rule 6, the other only will be scored. It is ‘not done’ to make a ‘double hit intentionally.

    With this exceptions acknowledgement stops play.

  10. Scoring. Every hit acknowledged that satisfies the other player will be scored, unless too hard or made with the point. If either player becomes unintentionally impaled on the point, a hit will be scored against his adversary. No hit will be scored that does not satisfy both players.
  11. Method of conducting competitions:
    • Knock-out. Duration of each bout normally best of 19 hits exclusive of double-hits.
    • Pool. Normally of about 8 competitors, all of whom fight each other, the winner being the one with fewest defeats, or defeats being equal fewest hits against him. Each bout normally best of 9 hits exclusive of double-hits.
    • Hits-pool. Each bout lasts until a total of (say) 18 hits has been scored; no ” wins” or ” losses,” only hits are recorded; the competitor who totals fewest hits received wins the pool. A double-hit counts one hit received against each, but only as one towards the total of 18.
    • Railway Pool. Loser stands down, winner fences next player in rotation. The pool is won by the fencer who survives a complete cycle of adversaries. One hit decides, Double-hit, both players stand down and the next two take their places.



Trooper 4 APs per Activation Phase
Bugs and Blips 6 APs per Activation Phase

The humans also get 1D6 CP at the beginning of their turn. These may be spent at any time during either side’s turn. Unused points do not carry over.


Action Trooper Bug Blip
Move Forward 1 square 1 1 1
Move Backwards 1 square 2 2 1
Move Sideways 1 square 2 1
Turn 90° 1 0*
Turn 180° 2 1
Fire Blaster/Gatling 1
Fire Gatling Sustained 2
Fire Inferno Cannon 2
Fire Missile 4
Set Overwatch Fire 2
Clear Jammed Blaster 1
Clear Jammed Gatling 4
Reload Gatling/Inferno 4
Reload Missile Launcher 5
Move Forwards & Fire 1
Move Backwards & Fire 2
Close Assault Attack 1 1
Open/Close Door 1 1 1

* If a bug makes two 90° turns in a row, they’re really making one 180° turn, and must pay 1 AP to do so.

BLASTER CARBINES (Unlimited ammo)
Trooper’s blaster carbines have unlimited range and require a 6 from 2D6 to kill. For each sequential action spent firing at the same target without the firer moving the score required to hit goes down by 1.

GATLING CANNONS (10 rounds/reload)
Gatling cannons have unlimited range and require a 5+ from 3D6 to kill. The cannon will jam on any tripple, after making any kills rolled. If fired in sustained mode, and providing they have enough ammo, the trooper may fire up to five shots at any available target(s).

INFERNO CANNONS (12 rounds/reload)
An inferno marker can be placed in any square within 12 squares and LOS. Up to five more markers may be placed in a chain from this marker (but still within 12 squares of the firer, LOS not required). If a square contains a bug or a blip it will kill it on a 2+ from 1D6, troopers are killed on a 4+ and doors cannot be affected. Inferno markers are removed at the beginning of the human player’s turn.

BUG HUNTER MISSILES (4 rounds/reload)
Can be fired at bugs or blips up to 18 squares away with no line of sight required. The missile takes the shortest route to the target and and will impact on the first door, bug, blip or trooper in the way. Score required to kill: Bug/blip – 4+; Door/Trooper – 5+;

If more than one kill is rolled then surplus kills may be used to kill targets in adjacent squares (subject to LOS and range).

Troopers with blasters or gatling cannons can be placed on overwatch. When on overwatch any movement within LOS and 12 squares will allow a ‘free’ shot at the moving target. Blasters will jam on any double (double 6 kills the target before jamming – see also overkill).

Bugs roll 3D6 and select the highest, humans roll 1D6. Whoever has the highest score kills their opponent. If the result is tied then neither combatant dies. Doors can be destroyed on a 6.

If attacked from the side or rear the defender cannot kill the attacker, if they win or draw they may turn to face their attacker. Bugs attacked from the side or rear roll 2D6.

9 x 3 count, 4 x 2 count, 8 x 1 count.

Blips are placed outside an entry point at the start of the bug’s turn. All blips must be placed before bugs start their movement. If a trooper is within 6 squares of an entry point freshly placed blips cannot enter and must remain off board untill the next turn. Once on the board, blips and bugs may not move off the board.

Blips may be voluntarily converted at any time during the bug turn. Blips must be converted when they move into the line of sight of a trooper or adjacent to his square. A bug must be placed in the square the blip was in and any other bugs must be placed in adjacent squares.

Any similarities between these rules and any previously published game are as co-incidental as any similarities between that game and the film Aliens.

The Way of War

The Pathfinder Shas’ui, acting on instructions from a battlefield controller in the command centre, has positioned his squad atop a small bush covered ridge over-looking the valley sweeping up to the steep cliff on the other side. Through his visor’s augmented battle field overlay he can see the icon of a Broadside cadre just below the opposing cliff-top. As he looks out onto the plain he doesn’t need the aid of his visor to see the brightly painted Gue’la tanks and supporting infantry carriers moving toward the trap about to be spring.

As the vehicles approach his position and the cluster of target icons that have been allocated to his cadre begin to separate out into discernible targets he allocates them to other team leaders and warriors in his team, watching as the icons for rail rifles and marker lights turn red as each in turn acknowledges his target knowing the same information is appearing on the holo-visualiser in front of the Aun in his Dragonfish high above the battle.

As the Gue’la vehicles enter the jaws of the trap the battle group receives clearance to fire and he aims your marker light at the lead troop carrier. When his visor’s motion tracker confirms a lock he indicates that he wants missile allocation. During the, seemingly interminably long, fraction of a second it takes for the icon to turn gold confirming launch he thinks back to the classroom of his basic training and remembers the schematic of guided missile operations:

“When the warrior marks a target the battle-net system allocates a missile to him based on a complex algorithm that factors in the number of missiles that have been made available for free launch by vehicle commanders and their distance from the requesting units – taking account of all requests and available missiles within the sector of operations. The missile may be fired from the transport next to the marker or from a fighter bomber as it passes within range of the target as the request is registered, but the battle-net’s algorithm means that the warrior does not need to concern himself with these details. Once the battle-net has confirmed the availability of a missile to the warrior via his hard-wired helmet visor systems he triggers it’s launch. The battle-net system then sends a launch command along with the target co-ordinates and the firer’s markerlight frequency signature to the missile’s drone brain. The missile navigates itself toward these target co-ordinates until it identifies the markerlight signature it has been keyed into and then rides the reflected light onto its target.”

Before the visor has picked up the signal from the drone controlling the missile allocated to his target and started displaying its distance-to-target countdown he sees the Broadsides on the opposite cliff top stand erect and ribbons of ionised air trace their path to explosions amid the lead tanks. At the same moment the rail rifles of his cadre sow destruction amongst the transports before the missiles rain down onto the thinner top armour of the remaining targets.
With the smoke resulting from the barrage clearing he is already searching for a new target with his markerlight as he hears the hiss of the crisis teams’ jet packs as they bound from the back slope behind and into the melee. Even through the smoke, the icons projected onto the visor’s display from their IFF transmitters allows friendly troops to avoid placing fire dangerously close to their positions.

Some of the surviving Gue’la are now mounting a defence from the wreckage of their carriers and, as their heavy weapons out-range the Pathfinder’s pulse carbines, they are forced to pull back into cover breaking the markerlight lock for an incoming missile. It’s drone brain simultaneously searches for a new markerlight lock whilst trying to identify a target for itself and, unable to find a new lock, guides itself in using shape and pattern matching algorithms programmed in before the battle.

Just as the Gue’la are reorganising to mount a counter attack on the Pathfinder’s position, he sees through the smoke that the icons of a cadre of Fire Warriors in their Devilfish transports has enveloped the enemy’s rear and trapped them in the valley that has turned into a killing ground.

The Beginning of the End

How to access the Beginning of the End feature in the Region 2, 3 disc, special edition of Memento:

  • Insert Disk 2.
  • Scroll down to the ‘Biographies’ entry.
  • Press [right] on your remote control and the cursor drops to blank space in the bottom third of the screen.
  • Press [enter]/[play] on you remote and you will be told that ‘This is the chronological presentation of the feature’.
  • Select the sound format you want (5.1/DTS).
  • Sit back and enjoy the film in from a whole new viewpoint.


1.5 Kilos of honey
Juice of two oranges and two lemons
Zest of one orange and one lemon
Yeast and nutrient

Bring the honey and zest to the boil in two or three times its volume of water. Stir with a stainless steel spoon until honey is dissolved, or it may burn. Skim off any scum which rises.

Activate the yeast in a little of the warm honey mixture. When the liquid has cooled pour into a fermentation vessel, add the juice, activated yeast and nutrient and top up with cold water. A fermentation vessel with a narrow neck and airlock is preferable.

Allow to ferment to completion and rack when the wine has cleared and no further bubbles are passing. Mead should be left to mature for a year after this.