Unlike their Heian counterparts such as Genji Monogatari, many of the medieval warrior tales have no identifiable authors and are generally composed by multiple people.
There were two forms in which gunki monogatari were transmitted: through yomimono (written texts) and through recitation by blind priests known as biwa hōshi.
The oral practices had a ritual component, as they were thought to restore order to society and pacify the angry souls of warriors killed in battle, but they also functioned as wayside entertainment.
In formulating this tale, the author borrowed heavily from existing oral narratives as well as diaries and other historical records.
These later accounts are probably fictional, a result of the tendency of oral tales to use real people and events and integrate them with prescribed themes to create effective performances.
Another part of the warrior scenes was the hero announcing his name, a speech which included not merely his personal name and title, but also his familial connections and accomplishments.
This loyalty is firmly tied to the concept of personal honor; warriors would rather die and be praised posthumously than live on with a tainted name.
This is illustrated in Heike monogatari when a young Genji warrior Yukishige turns on Takahashi and kills him despite the fact that the latter had just spared his life on account of Yushikige's youthful resemblance to his own son.
While pity for a youthful enemy on account of fatherly affection is a common refrain in the plot of gunki monogatari, Yushikige's single-minded loyalty to his camp at the expense of compassion is arguably closer to the rigid concept of honor espoused by the warrior class.
This rigid adherence to the code of loyalty is echoed in the famous Atsumori-Naozane episode, where the exhortations of the warrior ethic outweigh Naozane's regret and forces his hand to kill.