If you've read the previous version of this text, you probably don't need to bother spending money on this one. The format of the book is virtually identical chapter for chapter to the prior incarnation. This is maintained right down to Hobbs' numbering system presented in Chapter 8 (7 in the original) that is backwards (with parries 3&4 reversed) from everyone else in the world.

Unarguably, the integration of pictures into the text is superior to the original work, but there is precious little new material by way of diagrams and instructions. In fact, several drawings on footwork have been excised to make room for the interesting anecdotes on various productions in which Mr. Hobbs has been involved since 1967.

In this author's opinion, Hobbs assembles the best sword fights offered today in the cinema, but while the tales from the set are interesting, I suspect folk that are less familiar with all the movies that have employed him will find his oblique references to performers "who shall remain nameless" obtuse and more than slightly annoying. Perhaps in today's litigious society, the kiss-and-tell-all of Crean's More Champagne Darling won't fly with the lawyers but Hobbs has offered a weak spirit when imbibed beside any current talk shows.

Chapter 11 contains notes on what many consider to be Hobbs forte -- historical fights. The earlier text had a page of notes, but now we are treated to the same paragraphs woven into a Wagnerian opera of set stories and behind-the-scenes information. Weapons, armor, and costume details for half-a-dozen productions are revealed but again, if the fight community is the intended audience, this information has pretty well made the rounds.

There is some new material in the chapter on recording fights. However it consists primarily of several of Hobbs' fights actually written out longhand. Of academic interest perhaps to see how his plans matched what was actually assembled in the cutting room, but with an extensive library of tapes (including a CAV laserdisk of Rob Roy) we've all access to an impeccable record of his work.

Acting Intention and Acted Aggression is a much needed addition to the earlier book, but unfortunately we skim along with general notes and a few more war stories that while relevant to the topic, are only sciolistically redirected to offer real direction to the aspiring actor/combatant.

Entertaining and modernized, this update of Hobbs' book is worthwhile for the beginning student or to the hard core fan who wants the behind the scenes details that add spice to being in the profession. However, rather than adding substantive information concerning the development and direction of theatrical combat throughout the last 28 years, it seems to demonstrate the prowess of marketing being well timed in its release with the blockbuster movies which prominently feature Hobbs' dramatic fights.