Fight/Action Scenes: Three-act Structure

I've written a couple fight/action scenes before, but I was never really proud of them. They all seemed messy and allover the place, and I couldn't put my finger on it. It wasn't until when I was in one of my classes and my professor mentioned that three-act structure can also be applied to fight scenes, too, that made me realise what was missing in my writing.

Here's an example of the three-act structure that I learned:

ACT 1: Introduction and the Inticing Incident, Plot point 1
ACT 2: Rising Action, Midpoint, Plot point 2
ACT 3: Pre-climax, Climax and the Resolution

Now, here's my interpretation of it in the context of a fight/action scene.

Also, a note if you're reading this and thinking about writing fight/action scenes:
This isn't really a set rule or an official cheat to writing scenes like this. I feel like this would more likely be a thing to consider if you're stuck or something like that. That's sorta what I see this as.

Anyways, onto my interpretation...

ACT 1
Introduction:
When and where the scene begins. This can also build up to the initiation of the fight/action scene.

Inciting Incident:
The moment that pretty much gets the characters into the fight/action scene. It pretty much traps them into this situation. 

Plot Point 1:
The first primary goal of the characters during the fight/action. This is where it's stated what the character/s want to do when the fight/action is over or what they want to do to to finish the fight/action (and if they're the victor, of course) 

ACT 2:
Rising Action:
Basically the build-up. For most fights, this bit's really the characters assessing their opponent/s, even when they've fought before.

Midpoint:
I interpret this bit to be the part where the character/s start trying to put their plan/s to action! Most of the time, it goes one of multiple ways: (1) the plan doesn't work out, no matter how many attempts (2) the plan does work out at first, until the opponent/s figure out a way around it, (3) the plan does work, but a new obstacle arises... and etc.

Plot Point 2:
The second primary goal of the characters during the fight/action once plot point 1's been achieved. But if achieving plot point 1 doesn't work out, this can be a "Plan B" sort of thing

ACT 3:
Pre-climax:
This is the part where the intensity of the scene is geting to its highest. Either it seems certain which side suceeds, or it's not.

Climax:
This is the big moment. Either it goes as everyone hoped, or it doesn't. Most of the time, this moment is big, like a reveal, or a twist, or using some sort of attack/defense/etc. at its highest potential... Either way, a character/group of characters get what they want. But, that doesn't mean you can't do a deliberate anti-climax (if it's appropriate, of course).

Resolution:
Now this bit basically wraps everything all up. One character/group of characters have already gotten what they wanted (or not) and now all there is to do is to confirm that the fight/action is over.

Now, here's an example with a scene I wrote:

Based off the train confrontation from the "You're Insane!" section of the 5th chapter of my SHP project.

CONTEXT: One of the main antagonist's henchmen's been taken in by our protagonists as a source of information. Due to story specifics, we right now know that the henchman's just contacted the main antagonist about his situation, and now we're informed that someone's going to come pick him up. Now, two recurring antagonists come along to take that henchman away somewhere, as well as our protagonists and a small number of passengers on the train.

ACT 1
Introduction:
Wyra’s just given the announcement to the train passengers that she’s gonna take everyone somewhere hidden. 

Inciting Incident:
Wyra’s forced the train to stop. We also learn she can discharge electric power from her body, which is pretty frightening for everyone else. Doc’s just entered the train, too, to fetch Farqua. Wyra’s also just made the family on the train fall unconscious with syringes.

Plot Point 1:
April and Pillia must not get syringed! Meanwhile, Matro just needs to keep Doc from taking Farqua away.

ACT 2:
Rising Action:
Wyra’s trying to get April and Pillia unconscious. Wyra’s more on the offensive right now and April's trying to protect both herself and Pillia. She knows it's pointless going on the offensive since robots can't feel pain. Meanwhile, Doc's successfully just taken Farqua out of Matro's hands. (Matro's currently in his rebooting state)

Midpoint:
April and quickly figures out that the only way to not get syringed is to get the syringes away. April goes more on the offensive now that she knows what to do. The syringes are now out of the way, but Farqua won't let Doc & Wyra leave without his detached parts. Doc and Wyra’s just found out about where Farqua’s detached parts are. 

Plot Point 2:
It’s now up to April and Pillia to make sure Doc & Wyra don’t get their hands on the guitar case, where Farqua's parts are.

ACT 3:
Pre-climax: 
Wyra chases April and Pillia with the guitar case. After unsuccessfully getting the case, Wyra starts overheating due to exhausting her system and inner frustration. Wyra's got no idea what to do. Doc wants to leave the train ASAP. April eventually says something provocative to finish it off. 

Climax:
Wyra threatens to zap the entire train and that she "[doesn't] care if [anyone's] mortal or not". This really frightens everyone.

Resolution:
April gives in and hands over the guitar case. Doc & Wyra take the case, take the family and Farqua, and run off from the train.