TEXT: Ryan M. Danks
  Jadepunk Martial Supplement
  
  A Reroll Productions Publication
  www.RerollProductions.com • www.Jadepunk.com
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  Martial Supplements: Naramel
  Copyright © 2014 Reroll Productions
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  First published in 2014 by Reroll Productions.
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  Written by
  Ryan M. Danks
  Editing
  Allison Howard
  Layout, Cover Design
  Jesse Ferguson
  Cover Art 
  Conrad Javier
  Interior Art 
  Nicole Cardiff
  Jadepunk Martial Supplement
  
  Martial Supplement: Naramel
  2
  “An enemy not killed in the first strike lives only 
  to end your life.” 
   – The Forgotten Warrior.
  <heading 1>Preface</heading 1>
  When the inaugural Tournament of the Four Winds was announced 
  by His Excellency the governor, to be held during the one hundred 
  and twelfth year since the founding of Kausao City, I, Arnold P. 
  Windsworth III, saw a rare opportunity to catalog the fighting arts 
  of the Great Nations through the eyes of the greatest warriors in the 
  world.
  Being well-traveled myself, I have a passing familiarity with the 
  many cultures of each nation, but I am not what one could term a 
  “warrior.” I am, however, enraptured by the various warrior cultures, 
  which I have found to be strikingly similar to one another, even 
  when the respective nations are thousands of miles apart. Though 
  their customs may differ, warriors the world over tend to be of like 
  mind and extremely cunning.
  Every culture on the planet has a subculture of warriors who 
  <heading 1>Welcome to the Jadepunk Martial Expansions</heading 1>
  From the kung-fu styles of the Túyangan to the close-quarters prize-
  fighting approach of the Aerish, the <i>Martial Expansions</i> explore the 
  prominent brands of martial arts throughout the world of <i>Jadepunk</i>. 
  While these expansions detail many different martial arts styles, 
  they are not definitive, all-encompassing lists. Many more styles of 
  martial arts exist in the world, and for every popular fighting meth-
  od, there is anywhere from three to over a dozen variations of it.
  Players, we encourage you to use what’s presented here as a 
  guide to contriving your personal variations of the listed styles, or as 
  inspiration to create fighting methods that are altogether your own.
  <b>Necessary Resources</b>
  This text assumes you have access to <i>Jadepunk: Tales From Kausao 
  City</i> and are at least passingly familiar with the Great Nations de-
  scribed in the second chapter of that book. Also, a familiarity with 
  how Assets work (<i>Jadepunk: Tales From Kausao City</i> Chapter Three) 
  would be beneficial, because they help you to understand how the 
  styles are built within the game mechanics.
  
  Martial Supplement: Naramel
  3
  <heading 3>Arnold P. Windsworth III</heading 3>
  <b>Portrayal:</b> <aspect>Well-Traveled Aerish Scribe</aspect>
  <b>Need:</b> <aspect>To Know</aspect>
  <b>Secret:</b> <aspect>Ulterior Motives</aspect>
  <heading 1>The Naramel Warrior Culture</heading 1>
  The following text is a study of Naramel warriorship. I had the good fortune of 
  living among the Naramel for two years, some seven years past, and while I spent 
  much time with those who while away their days arduously training in the combat-
  ive arts, what surprised me most was that the warrior spirit was very much alive 
  in every facet of the Naramel non-warrior society–the everyday men and women of 
  the desert.
  I believe it is important you understand what I mean by the word “spirit,” as it 
  may not be clear to some readers.
  The Naramel have the word “jigada,” which translates literally as “before 
  death,” but is culturally used to mean “having an attitude of deadly seriousness.” 
  Because a warrior’s life can end at any moment, their time here is potentially even 
  more limited than the rest of ours is. Jigada is a term used to describe how im-
  portant it is to not procrastinate, suggesting that one should use this “attitude of 
  deadly seriousness” in every aspect of life.
  Jigada permeates every part of Naramel culture; even the merchants and 
  carpenters who have never fought in mortal combat use it to describe how every 
  deal, every cut of wood, every project is to be taken with the utmost seriousness, 
  as though one’s life depended on it. This single term, and an understanding of it on 
  a cultural level, is what makes the Naramel so adaptable, persistent, and skilled in 
  whatever they choose to pursue, whether that is related to the training of a warrior 
  or the brewing of coffee.
  <heading 1>History of Warfare</heading 1>
  Few in Kausao City think of the Naramel as great warriors. Many of their services 
  in the fabled city are related to either their skills in finance or their abilities as 
  shrewd negotiators. The reason they became such great diplomats, however, is 
  again due to their attitude of jigada. 
  Naramel warriors are front and center in the historical tale of the desert, and 
  that history can be told over three primary eras that changed warfare the most: 
  the Era of Clan Warfare, the Era of the Ayuno, and the Era of Fire.
  shape the destiny of their geographical location. The fact that such a small subcul-
  ture (typically numbering less than 10 percent of a nation’s total population) can 
  so greatly influence its parent culture is an anthropological wonder. Architectural 
  styles will change over time, as will fashion, and sometimes even currency, but 
  ways of war remain constant, and the need for warriors never diminishes.
  
  Martial Supplement: Naramel
  4
  <heading 2>Era of Clan Warfare</heading 2>
  The early history of the desert clans was rife with savage warfare. Life on the Iteur 
  River was a constant struggle for necessities like food and water. The most power-
  ful clans inhabited the fertile shores of the river, while those with less fighting men 
  were not able to hold such valuable land and were forced deeper into the desert to 
  live as nomads.
  Men and women of the desert clans had to develop many survival skills, and 
  clans functioned best when their numbers specialized in one or more of them. 
  Some were shepherds; others hunted or gathered, while a few were craftsmen or 
  medicine men. Training someone solely for the art of war was not practical when 
  day-to-day survival was itself a constant battle. There was simply too much else 
  that needed to be done by every individual in the clan.
  When clans warred, there was the fear, on both sides, of losing an individual 
  who was integral to the survival of the clan. Often it was not the battle itself that 
  decimated a clan, but the weeks and months after, when the people had to trudge 
  on without medicinal expertise, food, or leadership. The lucky ones were inte-
  grated into other clans, while the less fortunate would die alone in the sand, their 
  people utterly forgotten.
  Because the fear of this happening permeated every member of every desert 
  clan, times of tentative peace were common in ancient desert life. But when things 
  grew desperate, driving a neighbor from a life-giving oasis or pillaging them for 
  supplies were necessary actions. The trick was to do so without resorting to all-out 
  war.
  <heading 3>Resolution by Single Combat</heading 3>
  It is unclear where the first instance of this idea was implemented, but it re-
  shaped warfare in the desert for generations.
  Resolution by single combat was a duel between the best fighting men of 
  each clan. The one-on-one combat would decide the outcome of the entire battle, 
  without any additional loss of life. This saved the clans from losing the individuals 
  who were integral to survival–unless taking such individuals was a condition of the 
  duel–and opened up a new profession for desert clansmen: that of the feydaya.
  
  Martial Supplement: Naramel
  5
  <heading 2>The Feydaya</heading 2>
  No one occupation, not even those of other warriors, has influenced the history of 
  the Naramel Desert as much as the feydaya.
  The word “feydaya” is a compound word the Naramel clans use to describe 
  warriors who train specifically for one-on-one dueling. The word “feya” means 
  “warrior” and is used for all men who fight in war. “Daya” means to “forsake one-
  self for the benefit of others.” The word “feydaya,” then, translates loosely as “one 
  who trains exclusively for fighting, thus forsaking a normal life to protect his or her 
  clan.”
  The reason they don’t simply use the word “feya” to describe their duelists, as 
  many other cultures do, is because of their dueling rituals, which are the oldest in 
  the world (see <i>Prominent Styles: Saigatire</i> for more information on the Naramel 
  dueling rituals).
  The idea of allowing a single family of feydaya to train in the combative arts ex-
  clusively, with no other day-to-day duties, was not pragmatic until dueling became 
  a widespread practice. Once it was, however, the clans found it was well worth the 
  sacrifice.
  In fact, each clan treated feydaya families like prized horses–they got the best 
  food, tents, and the first water. It was understood by all that if the feyadaya were 
  not kept in the best condition possible, the clan could lose everything upon the 
  first challenge that came their way.
  The clans were proud of their feydaya, and trusted in them implicitly.
  Resolution by single combat did not prevent all-out war every time. Occasion-
  ally an agreement could not be made as to the terms of a duel, or a desert clan 
  traveled too closely to the Ayuno plains or the Iteur cities, where the people did 
  not respected the terms of a resolution by single combat. Still, it did ensure long-
  term survivability among the desert clans.
  <heading 2>The Era of the Ayuno</heading 2>
  In northern Dahli, the continent the Naramel Desert crosses, fertile plains ex-
  tend for hundreds of miles, east to west, where an abundance of green jade could 
  be found. Whether it was a happy coincidence, or a form of jade taint, the plains 
  also served as the home to the fastest equines in the known world: the Ayuno. The 
  Ayuno horse breed is so fast that a common myth says a mounted Naramel once 
  outran an airship. Perhaps if an Ayuno had been used to travel to Kausao when the 
  region was first discover the Naramel would have been there soon enough to get 
  better lands.
  
  Martial Supplement: Naramel
  6
  The clans that made use of the Ayuno in war quickly became the dominant 
  force on the plains, and wherever else they traveled. It is important to note, 
  though, that they did not attack the cities along the Iteur, as their cavalry could 
  not be deployed as an effective asset in the tight streets of a city. They did however 
  build their own cities along the northern coast, setting themselves apart from the 
  rest of the desert clans, and established the rule of the Sulgon–Lord of the Ayuno.
  The rule of the Sulgon is as close as the Naramel have ever come to having a 
  single master over the entire desert. During this era, resolution by single combat 
  fell to the wayside as the Ayuno clans were so unstoppable they took whatever they 
  wanted from the desert clans, and since they did not fear losing any of their own 
  men during a battle, they refused to indulge the wishes of their enemies to engage 
  in single combat. The feydaya were all but useless, and their traditions was nearly 
  lost.
  <heading 2>The Era of Fire</heading 2>
  After Temüjin discovered the method of refining red jade in his bloomery, thus 
  creating the blast furnace in the process, cannons and crude rifles became the 
  dominant forces on the battlefield. One soldier with a rifle could fell an Ayuno 
  from thirty paces, and cannons could decimate an Ayuno charge with a single vol-
  ley. The Ayuno clans had the advantage over the desert clans no longer.
  This era saw the return of resolution by single combat, as even the Ayuno 
  clans were careful to charge a nomadic clan that could deploy a dozen rifles within 
  moments. This is also the era in which the feydaya rose to their full prominence 
  in the desert, overthrowing the Ayuno horse lords, establishing themselves as the 
  ruling body of each clan (though the Sulgon’s office is still known as the “Lord 
  of Ayuno”; changed from “Lord of the Ayuno” when the northern plains became 
  known as the Ayuno provinces). The office of the Sulgon has been fought over by 
  the feydaya ever since.
  The Era of Fire is the current era of the desert, and is now more peaceful than 
  in its earlier days. The Sulgon allows war between the various clans and provinces 
  to settle disputes, but pillaging is illegal and thieving clans that are found out will 
  suffer the wrath of the Sulgon and his feydaya warriors.
  <heading 1>Prominent Style: Saigatire</heading 1>
  The following are the most common fighting styles found in the Naramel Desert. 
  This is not a definitive list, and I’m not sure I could construct such a list if I wanted 
  to. There are many arts practiced by both feydaya and layman of the desert, and it 
  would take a lifetime simply to learn about and catalog them all. What I have listed 
  here are the most prevalent of styles, those that are found in nearly every city or 
  encampment.
  In my travels, I have found that the practice of saigatire is prevalent even 
  among the non-feydaya, who have adapted the art to the tools that they work 
  with in their trades. It is easily the most widespread martial art form throughout 
  the continent. It is a dueling art, typically used by the feydaya, that specializes in 
  
  Martial Supplement: Naramel
  7
  “Learning the opponent is the reason for the meeting of feydaya that takes 
  place before a duel. Philosophers romanticize this meeting by suggesting 
  that we learn about the other’s culture so that we might appreciate it. The 
  truth is that we don’t care about the other’s culture. We care about the type of 
  coffee they enjoy because it is telling of the energy levels they are accustomed 
  to. We ask about their friends so that we understand the character of our oppo-
  nent through the company he keeps. In short, we learn about them to discover 
  how best to kill them. To pretend anything else courts insanity.”
  –Hasson Chaikin, feydaya of the Idrisi clan
  <heading 3>Basic Techniques</heading 3>
  Being the most common fighting method in the desert, saigatire’s core techniques–
  rather simple and direct, launching from meticulously planned stances and using 
  wide, sweeping strikes–have few variations found in each clan’s version of the style. 
  Saigatire, while a universal term for the art of the sword, is also used as a catch-
  all for the close combat arts that utilize melee weaponry. It does not adequately 
  describe the numerous variations of the advanced techniques that any one style of 
  saigatire employs.
  swordsmanship. But not everyone has access to jade swords or a thousand years 
  of ancestral training to learn from, so the style has been adapted to accommodate 
  a wide array of weapons, and even has a few unarmed off-shoots based on the 
  principles of the original art.
  The second most prevalent style, which has risen to prominence in just the 
  last century, is known as kuraiga, an adaptation of the Kaiyumi style kalima; it is 
  the best counter to the powerful strikes of a saigatire practitioner. While kalima is 
  a weapon art, emphasizing two weapon fighting, kuraiga focuses on empty-hand 
  movements to defend against an attack by a practitioner of saigatire.
  <heading 2>Saigatire</heading 2>
  The traditional sword art of Naramel warriors, saigatire emphasizes one-on-one 
  dueling, primarily with a longsword, and has as many traditions in how it is prac-
  ticed as resolution by single combat has in how duels are conducted.
  
  Martial Supplement: Naramel
  8
  <heading 3>Hasson Chaikin on Style and Instruction</heading 3>
  “I have obtained mastery of the martial arts through the avoidance of 
  showmanship. Many instructors in the cities along the Iteur do not 
  have the experience in the sands to stand on their own accomplish-
  ments. Instead, they rely on flamboyant gimmicks applied to their 
  arts. Such gimmicks, if not taught by a feydaya with combative 
  accomplishments, have no place in the training repertoire of a student 
  of martial science. And there are many instructors who lie about being 
  true feydaya. I should like to meet these goat-mothered scoundrels in 
  the sand myself.”
  <heading 3>Posturing</heading 3>
  Saigatire is a straightforward  fighting method. It uses several static stances, from 
  which specific types of strikes can be executed with maximum efficiency. The tran-
  sition from one stance to the next and the ability to make the effort seamless and 
  fluid, along with the inherent defensive techniques that assist many such transi-
  tions, are all among the first lessons that a student learns. This early training en-
  Though the cities along the Iteur have only recently, with the advent of fire-
  arms, taken to the concept of resolution by single combat, they boast that they 
  have the best schools of fighting in the Naramel Desert. Their instructors claim to 
  be descendants of ancient feydaya, whose secrets can be taught, for a price.
  <b>Saigatire Novice</b>
  <i>At this level of proficiency, the student has learned the basic strikes and how to 
  position themselves to best execute them.</i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent upon character aspects)
  <b>Features:</b> <i>Focus 2</i> (Fighter +2)
  <b>Flaws:</b> <i>Situational</i> (when creating advantages in duels)
  <b>Cost:</b> 1 refresh
  
  Martial Supplement: Naramel
  9
  <b>Flat of the Blade</b>
  <i>This is a last-ditch effort to block an attack. The defender places the flat of the 
  blade against their body and relies on the super strong Demalian steel to protect 
  them from harm.</i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent on character aspects)
  <b>Features:</b> <i>Protective 1</i>
  <b>Flaws:</b> <i>Situational 2</i> (only while wielding a Demalian longsword and defending 
  against a melee attack)
  <b>Cost:</b> 1 refresh
  sures that they have mastered the defensive 
  positions, are in the best possible position 
  for a counter attack, and most important-
  ly, that they can recognize the stance, and 
  thus the most likely angle of attack that will 
  be used by their opponent. In fact, many 
  duels begin with transitions from stance 
  to stance, like a game of al-shat, full of 
  posturing and attempts to gain a position 
  of advantage over the opponent, which is 
  often obtained by finding oneself in a stance 
  that is ideal for countering the stance an 
  opponent has found themselves in. 
  In the duels I have witnessed, this 
  posturing can take anywhere from a few 
  seconds to several minutes, often without 
  a single strike being attempted. What is 
  remarkable is how onlookers–those more 
  experienced than I–can determine their 
  skill, and the likelihood of which feydaya 
  will win, just by watching how well they 
  transition and find a position of advantage. 
  I am told it requires not only a mastery of 
  the techniques, but also a keen eye and in-
  credible empathy to learn your opponent’s 
  proclivities as quickly as possible. It is un-
  surprising then, how many feydaya are also 
  masters of the artistic and literary pursuits.
  
  Martial Supplement: Naramel
  10
  <b>Master of Saigatire</b>
  <i>The master has perfected the deceptive tactics of striking from a position of ad-
  vantage.</i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent on character aspects)
  <b>Features:</b> <i>Focus 2</i> (Fighter +2)
  <b>Flaws:</b> <i>Situational</i> (when invoking an advantage you created in a duel)
  <b>Cost:</b> 1 refresh
  The stances of saigatire are so universal that the early stages of training in one 
  school or another are all but identical. But as many warriors will tell you, war is 
  deception. Learning to strike from a common stance in a unique and indirect man-
  ner is what expert feydaya seek to master in the advanced levels of any saigatire 
  style. And since “a tactic known is a tactic blown,” these special methods of attack 
  are the guarded secrets of every master of the art of the duel.
  <heading 3>Hasson Chaikin on Executing and Choosing 
  Techniques</heading 3>
  “To attain victory in combat, one must not rely on gimmick techniques designed 
  to disarm, distract, or feint an opponent. Such techniques open oneself up to 
  decisive counter attacking. To win a duel, one must understand the mind of the 
  opponent—his or her emotional state—and exploit this. Use the eyes to bore into the 
  opponent, penetrating his or her soul, and learning how they react. This can be done 
  before physical movement has been made. Consider this thoughtfully.”
  
  Martial Supplement: Naramel
  11
  <heading 3>Weaponry</heading 3>
  Saigatire is not an unarmed method of fighting. No feydaya is ever without a long-
  sword, and to ask them to surrender it is to invite your own death. There are two 
  weapons that a saigatire practitioner holds above all others: the longsword and the 
  pole-blade.
  The dueling longsword, as used in the Naramel Desert, is commonly called a 
  Demalian longsword, because many feydaya families pass down longswords made 
  of Demalian steel, or simply made of solid green jade (if the family is particular-
  ly rich or accomplished), from one generation to the next. They are four feet in 
  length and extremely hard, curved blades that can be wielded either one or two 
  handed, though often two hands are used to fully exploit the strength and sturdi-
  ness of the blade.
  The pole-blade harkens back from the Era of the Ayuno, when the feydaya had 
  to learn to defend their clan against a horse charge. The pole-blade is a shorter and 
  thicker version of the longsword attached to the end of a four foot pole. Though 
  the feydaya are the ones who made it famous, the pole-blade was actually invent-
  ed by the Ayuno clans, who would use the longer weapons to more easily strike 
  at their unmounted victims while the Ayuno charger rode by on horseback. The 
  feydaya discovered that the pole-blade could be used on foot to strike a mounted 
  opponent just as well.
  In the Era of Fire, the feydaya sometimes used the pole-blade in duels, hoping 
  that its superior reach will give them the advantage against an opponent armed 
  with a longsword.
  <b>Demalian Steel Longsword</b>
  <i>The traditional dueling weapon of the feydaya. </i>
  <b>Type:</b> Device
  <b>Function Aspect:</b> <aspect>Demalian Steel Sword</aspect>
  <b>Features:</b> <i>Harmful 2</i>, <i>Sturdy 2</i>
  <b>Flaws:</b> <i>Troubling</i> (<aspect>Instantly Recognizable, Always Feared</aspect>)
  <b>Cost:</b> 2 refresh
  <b>Ayuno Pole-Blade</b>
  <i>A small blade attached to the end of a staff, useable from horseback or on foot.
  </i>
  <b>Type:</b> Device
  <b>Function Aspect:</b> <aspect>Ayuno Pole-Blade</aspect>
  <b>Features:</b> <i>Harmful 2</i>
  <b>Flaws:</b> <i>Troubling</i> (<aspect>Reach Weapon</aspect>, dangerous at reach, a hindrance in close)
  <b>Cost:</b> 1 refresh
  
  Martial Supplement: Naramel
  12
  <heading 2>Rituals of Resolution by Single Combat</heading 2>
  Duels, as conducted by the Naramel, follow these rituals, which are almost a 
  religious practice for the feydaya.
   
  • A challenge is delivered. This sometimes takes the form of an army marching 
  on a village and calling out their intent, or it could be a written challenge that 
  is delivered to the home of the lord of the clan, who then accepts or declines 
  for the feydaya. Since a feydaya represents his clan when he fights, he never 
  accepts a challenge of his own accord, neither does he declare challenges. It is 
  for the lords of each clan to negotiate the terms of a duel, and then accept on 
  behalf of their feydaya families.
   
  • A feydaya is chosen to fight in the duel. The process of choosing who will fight 
  differs from clan to clan, but often the leaders simply choose the best fighter 
  among their ranks.
   
  • The feydaya then chooses a “second”—another warrior who would avenge any 
  wrongdoing done to the principal feydaya in the course of the duel, and who 
  would fight in their place if something unfortunate happened to them before 
  they could meet in the sand.
   
  • The feydaya of both clans, and their seconds, have coffee on a plateau or clear 
  plain. There they discuss the terms of the duel—it is important that the fey-
  daya knows the stakes for which they fight—and “learn each other” through 
  conversation about their families, beliefs, and accomplishments. At the end of 
  this conversation, they declare which weapon they will use in the duel.
   
  • The night before the duel, the feydaya receives an extra mark on their tattoo 
  of “Excellence in Single Combat.” This mark is a privilege of the feydaya alone, 
  and represents an assuredness of an impending victory. Seconds do not receive 
  a mark until after they fight, if they do.
   
  • The feydaya meet in the same place they had coffee and present their weapon 
  for inspection by the other’s second. While the seconds inspect the weapons, 
  the feydaya study one another.
   
  • After inspecting the weapons, the seconds retire to a distance where they are 
  close enough to interfere, but not so close that any interference would go 
  unnoticed.
   
  • After the duel, which always ends in death, the victor defames the part of their 
  opponent’s tattoo that represents the victory in this battle which did not come 
  to pass. Then the losing clan is allowed to claim the body and has twenty-four 
  hours to respect the fallen feydaya before meeting the terms set forth by the 
  initial parley.
  The Naramel method of dueling was the first in written record, and has influ-
  enced formal dueling in every land where it has been encountered.
  
  Martial Supplement: Naramel
  13
  <heading 2>Mounted Warfare</heading 2>
  Mounted warfare was the dominating force in Naramel warfare for an era. The contribu-
  tion to the martial history of the nation by the Ayuno horse lords cannot be overstated.
  In combat, the Ayuno clans would attack an encampment in waves of Ayuno charges. 
  Each wave would be ten to twenty horses abreast and would ride through the encampment, 
  lashing out at any individuals that came within reach of their pole-blades. The second wave 
  would hit within moments of the first wave, keeping defenders off balance while the first 
  wave circled around to make another charge. By the time a third wave passed through, the 
  first wave was ready to ride through again. This would continue until the encampment 
  was completely decimated or the defenders surrendered.
  <heading 3>Ayuno Charger</heading 3>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent on character aspects)
  <b>Features:</b> <i>Focus 3</i> (Fighter +3)
  <b>Flaws:</b> <i>Situational</i> 2 (when astride a horse and wielding a melee weapon)
  <b>Cost:</b> 1 refresh
  <heading 3>Ayuno</heading 3>
  <b>Type:</b> Ally
  <b>Function Aspect:</b> <aspect>Fastest Horse in the World</aspect>
  <b>Features:</b> <i>Professional 2</i> (Explorer +2, Fighter +1), <i>Resilient</i>, <i>Sturdy 2</i>, <i>Talented 1</i> 
  Focus 1 (Explorer +1)
  <b>Flaws:</b> <i>Situational</i> (Talented; only in contests involving outrunning the opposition), 
  <i>Troubling</i> (<aspect>Requires Care</aspect>)
  <b>Cost:</b> 1 refresh
  <heading 2>Kuraiga</heading 2>
  About a century before the discovery of the Kausao region, a Kaiyumi practitioner 
  of kalima landed in Demal and opened a school there. Because of ethnic differenc-
  es—the Naramel being proud of their warrior arts, thinking them without peer—
  the Kaiyumi’s school was never had full attendance and was challenged often by 
  other schools. As a result, it was closed within a year of opening and the Kaiyumi 
  instructor returned to her own country. But the lessons taught at that short-lived 
  school were remembered by the few loyal students who were willing to learn.
  
  Martial Supplement: Naramel
  14
  “The feydaya have held sway over the desert for so long they claim ownership of the 
  sand itself. Many non-feydaya have longed for them to be put in their place. But 
  when you challenge them and win, they don’t swallow their pride and admit their 
  wrongs—they hold a dangerous grudge.”
  —Delen Mara, practitioner of kuraiga
  <heading 3>Basic Techniques</heading 3>
  During the few months that the kalima school in Demal was open, the basic un-
  armed techniques were solely taught, with only a few naturally talented individuals 
  moving into intermediate levels in the weapons portions, as well as the simplistic 
  unarmed methods, of kalima—those of counter-striking and attacking the op-
  ponent’s limbs to disarm them of future striking ability. After the closing of the 
  school, the students took what they learned and applied it to their own knowledge 
  of fighting. Their largest threat were the practitioners of saigatire, since even thugs 
  in the streets of Demal had knowledge of the saigatire techniques, even if they 
  couldn’t afford a Demalian steel sword—knives and machetes worked just as well 
  against unarmed opponents.
  The kalima practitioners began devising techniques that would counter the 
  long, sweeping movements of saigatire. They learned to identify the stances used in 
  saigatire and the angles at which they struck from those stances. In practice, they 
  would duplicate the movements of a saigatire practitioner, but instead of blocking 
  or parrying, as was the saigatire way, they would move with the momentum of 
  the incoming striking, passing it across their body and throwing off the balance of 
  the saigatire attacker. This put the kalima practitioner in an excellent position to 
  disarm, throw, or lock the joints of their opponent.
  Knowing that they were not experts in kalima, and recognizing that the tech-
  niques they were creating were vastly different than the more direct approach of 
  their former Kaiyumi instructor, these Naramel students of war changed the name 
  of their art to kuraiga, which seems to be an amalgamation of different words that 
  practitioners have given the meaning “resistance without resistance.”
  <b>Kuraiga Novice</b>
  <i>At this level of proficiency, the student has learned to pass both the unarmed and 
  the weaponed strikes of an opponent harmlessly off their original line of attack. </i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent upon character aspects)
  <b>Features:</b> <i>Focus 2</i> (Fighter +2)
  <b>Flaws:</b> <i>Situational</i> (only while defending against a melee attacker)
  <b>Cost:</b> 1 refresh
  
  Martial Supplement: Naramel
  15
  While kuraiga was not initially well-received by the feydaya, its efficiency 
  cannot be denied. They have since taken to using the kuraiga techniques as an 
  unarmed last resort, though few recognize it as kuraiga, instead calling it an 
  unarmed representation of saigatire (though this is inconsistent with the “harder” 
  unarmed styles that are historically known to be offshoots of saigatire). Those few 
  feydaya who do recognize the contributions of kuraiga to their unarmed tech-
  niques are truly enlightened warriors, finding uses in the passing techniques even 
  in the armed defenses of their weapon forms. Hasson Chaikin is one such man, 
  and is the greatest warrior the Naramel Desert has ever known.
  <heading 2>Delen Mara on “Purity of Style”</heading 2>
  “Many feydaya hold that the saigatire their forefathers created is perfect. Any al-
  terations to the style are considered an anathema, an offense to tradition. Kuraiga 
  would not exist were it not for alteration of traditional styles. Change is how we 
  grow. It’s how progress is made. If warriors are not willing to change, they will be-
  come relics of a bygone era, ill-equipped to deal with future challenges.”
  <heading 3>Capitalization</heading 3>
  Kuraiga techniques work by first placing the opponent off-balance through the 
  passing of incoming strikes onto a line that will prove harmless to the kuraiga de-
  fender. The fighter then takes advantage of their opponent’s imbalance, a moment 
  in time called “capitalization.”
  At that moment when an opponent is off-balance and vulnerable to a count-
  er attack, the kuraiga practitioner will capitalize on the opportunity, using some 
  form of throw, joint-lock, disarm, or even strike (depending on the school). This is 
  where the destructive force of the attacker is turned back on themselves through 
  their own momentum. In effect, they defeat themselves.
  <b>Defang the Snake</b>
  <i>A snake is only as dangerous as its fangs. Remove the fangs, and the snake is ren-
  dered harmless.</i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent upon character aspects)
  <b>Features:</b> <i>Exceptional</i> (reactively disarm an opponent who missed you in combat)
  <b>Flaws:</b> <i>Situational 2</i> (only on a success with style when defending against an oppo-
  nent wielding a melee weapon)
  <b>Cost:</b> 1 refresh
  
  Martial Supplement: Naramel
  16
  <b>Kuraiga Bands</b>
  <i>Particularly used in duels against armed opponents, these bands protect the limbs 
  of the practitioner.</i>
  <b>Type:</b> Device
  <b>Function Aspect:</b> <aspect>Green Jade Wrist Bands</aspect>
  <b>Features:</b> <i>Protective 1</i>
  <b>Flaws:</b> <i>Situational</i> (only against melee attacks)
  <b>Cost:</b> 1 refresh
  <heading 2>Kuraiga Bands</heading 2>
  Since kuraiga practitioners must often receive a blow before inflicting one, as they 
  meet the bladed attacks of their opponents with their forearms before passing it 
  harmlessly to the side, many kuraiga practitioners wear wristbands made of green 
  jade to protect their limbs when they execute a technique improperly.
  <b>Master of Kuraiga</b>
  <i>A master of kuraiga can destroy any opposition (or their limbs) without wasting 
  movements, allowing the master to carry on against multiple attackers at once. </i>
  <b>Type:</b> Technique
  <b>Guiding Aspect:</b> (dependent upon character aspects)
  <b>Features:</b> <i>Exceptional</i> (on a successful defense, deal shifts of harm equal to your 
  margin of success)
  <b>Flaws:</b> <i>Demanding 2</i> (requires a Great [+4] Fighter roll to inflict damage)
  <b>Cost:</b> 1 refresh
  While kuraiga depends on the opponent’s aggression to be turned against 
  them, making it a purely defensive art, a master of kuraiga either doesn’t require 
  the opponent’s aggression, or seems so supernaturally aware of the intended 
  aggression that the master can initiate techniques seemingly before the opponent 
  moves to strike. It’s a wonder to behold. To the untrained practitioner, such as 
  myself, it appears as though the “attacker” merely takes a single step before the 
  master relieves him of his weapon or throws him to the ground, securing a terrify-
  ing joint-lock of one kind or another.
  
  Martial Supplement: Naramel
  17
  <heading 2>Using the Tournament of the Four Winds in your Game </heading 2>
  Within these pages, and throughout the <i>Martial Expansions</i>, you will learn 
  about the Tournament of the Four Winds. This annual tournament is akin to the 
  world-spanning tournaments featured in fighting video games such as the <i>Dead or 
  Alive</i> and <i>Mortal Kombat</i> series, or like those seen in the movies <i>The Quest</i> and 
  <i>Bloodsport</i>.
  The personalities introduced in the <i>Martial Expansions</i> are competitors in that 
  tournament. You will also find important supporting characters to any scenario 
  focusing on the events surrounding the tournament, which we will highlight in 
  sidebars as Faces when they first appear.
  The Tournament of the Four Winds is an epic affair, on the scale of the Olym-
  pics in our modern world, and should be treated as such. While the tournament 
  brings money to every shop owner, this is Kausao City, and nothing is ever as 
  good as it looks on the surface. Be sure to showcase how the ugly parts of the city 
  get worse during this time: the crowded streets become even more crowded, the 
  underworld and guardsmen take advantage of foreigners and natives alike, kidnap-
  pings and imprisonments increase in frequency, the downtrodden and poor are 
  forced out of districts surrounding the tournament arena, and the presence of sky 
  and sea pirates coming to town to see what piece of the pie they can carve out for 
  themselves presents a danger to any travelers. Turf wars are sure to erupt among 
  the underworld organizations, and violence will abound as never before. And what 
  of the Jianghu? Many believe the tournament is held just to expose those citizens 
  of Kausao City—where the practice of martial arts is forbidden—who are mem-
  bers of the underground rebellion against the Council of Nine.
  This is Kausao City. Oppression and danger hang over even the most auspi-
  cious occasions.
  <heading 1>Warriors of the Age of Fire </heading 1>
  The following warriors are to compete in the inaugural Tournament of the Four 
  Winds, to be held this year. These are considered the greatest warriors the Naramel 
  Desert has ever produced.
  
  Martial Supplement: Naramel
  18
  <heading 1>Hasson Chaikin<heading 1>
  <i>As a feydaya of the Idrisi clan, combat is my profession. I have laid my life on the 
  line for my clan many times in the sands of the Naramel, having earned the title of 
  “Saiken” (“Sword Saint”). Now I travel at the will of Ehal to Kausao City to repre-
  sent my clan. The Twelve Virtues sustain me. I am Hasson Chaikin, descendant of 
  Cyril Chaikin, a feydaya born in the sands of the Idrisi province, west and south-
  west of the province of Demal, now forty years old. </i>
  <heading 2>Hasson Chaikin</heading 2>
  Portrayal: <aspect>Stoic Master Swordsman</aspect>
  Background: <aspect>Fought Nearly Sixty Duels in the Desert</aspect>
  Inciting Incident: <aspect>Here at the Personal Request of the Sulgon</aspect>
  Belief: <aspect>Honor is All a Man Has</aspect>
  Trouble: <aspect>Crass, Especially While Drinking</aspect>
  <heading 3>Professions</heading 3>
  <b>Aristocrat:</b> Average (+1)
  <b>Engineer:</b> Average (+1)
  <b>Explorer:</b> Fair (+2)
  <b>Fighter:</b> Good (+3)
  <b>Scholar:</b> Fair (+2)
  <b>Scoundrel:</b> Mediocre (+0)
  <heading 3>Assets</heading 3>
  <b>Flat of the Blade</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> <aspect>-
  Fought Nearly Sixty Duels in the Desert</aspect>; <i>Features:</i> 
  Protective 1; <i>Flaws:</i> Situational 2 (only while wielding 
  a Demalian longsword and defending against a melee 
  attack)
  <b>Personalized Dueling Longsword</b> <i>Type:</i> Device; <i>Function 
  Aspect:</i> <aspect>Green Jade Sword</aspect>; <i>Features:</i> Harmful 2, Stur-
  dy 2; <i>Flaws:</i> Troubling (<aspect>Instantly Recognizable, Always 
  Feared</aspect>)
  <b>Saigatire Novice</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> <aspect>Stoic 
  Master Swordsman</aspect>; <i>Features:</i> Focus 2 (Fighter +2); <i>-
  Flaws:</i> Situational (when creating advantages in duels)
  <b>Master of Saigatire</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> 
  <aspect>Stoic Master Swordsman</aspect>; <i>Features:</i> Focus 2 (Fighter 
  +2); <i>Flaws:</i> Situational (when invoking an advantage you 
  created in a duel)
  <b>Stress</b> <<<<<<<<000<<<<<<<<<
  <b>Consequences</b>
  <b>Mild (2):</b>
  <b>Moderate (4):</b>
  <b>Severe (6): </b>
  
  Martial Supplement: Naramel
  19
  <heading 2>Delen Mara</heading 2>
  Portrayal: <aspect>Freedom Fighting Heiress</aspect>
  Background: <aspect>Struggled All My Life Against the Feydaya’s Oppression</aspect>
  Inciting Incident: <aspect>A Feydaya Killed My Brother</aspect>
  Belief: <aspect>All People Are Created Equal</aspect>
  Trouble: <aspect>Militarily Opposed to the Sulgon</aspect>
  <heading 3>Professions</heading 3>
  <b>Aristocrat:</b> Average (+1)
  <b>Engineer:</b> Mediocre (+0)
  <b>Explorer:</b> Fair (+2)
  <b>Fighter:</b> Good (+3)
  <b>Scholar:</b> Average (+1)
  <b>Scoundrel:</b> Fair (+2)
  <heading 3>Assets</heading 3>
  <b>Defang the Snake</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> <aspect>Freedom 
  Fighting Heiress</aspect>; <i>Features:</i> Exceptional (reactively disarm an 
  opponent who missed you in combat); <i>Flaws:</i> Situational 2 (only 
  on a success with style when defending against an opponent 
  wielding a melee weapon)
  <b>Kuraiga Bands</b> <i>Type:</i> Device; <i>Function Aspect:</i> <aspect>Green Jade Wrist 
  Bands</aspect>; <i>Features:</i> Protective 1; <i>Flaws:</i> Situational (only against 
  melee attacks)
  <b>Kuraiga Novice</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> <aspect>Freedom 
  Fighting Heiress</aspect>; <i>Features:</i> Focus 2 (Fighter +2); <i>Flaws:</i> Situation-
  al (only while defending against a melee attacker)
  <b>Master of Kuraiga</b> <i>Type:</i> Technique; <i>Guiding Aspect:</i> <aspect>Freedom 
  Fighting Heiress</aspect>; <i>Features:</i> Exceptional (on a successful defense, 
  deal shifts of harm equal to your margin of success); <i>Flaws:</i> De-
  manding 2 (requires a Great [+4] Fighter roll to inflict damage)
  <b>Stress</b> <<<<<<<<000<<<<<<<<<
  <b>Consequences</b>
  <b>Mild (2):</b>
  <b>Moderate (4):</b>
  <b>Severe (6): </b>
  <heading 1>Delen Mara</heading 1>
  <i>I have fought feydaya in the sands of the Naramel, and won. My name is Delen 
  Mara, heiress to the School of Resistance without Resistance, master of kuraiga, 
  and leader of the Demal Freedom Fighters. I come not at the behest of the corrupt 
  Sulgon, but by my own accord. Through my victory in this tournament, and the 
  subsequent telling of my story, the world will learn of the feydaya’s tyranny in the 
  desert.</i>
  
  coming to the reroll store January 2015
  
SOURCE: textdata/thevault/FATE (fudge) [multi]/Jadepunk/Jadepunk Supp. Naramel.pdf